THE READING OF COMPLETE 
ENGLISH CLASSICS 

IN THE COMMON SCHOOL 



SPECIAL METHOD 



IN THE 

READING OF COMPLETE 
ENGLISH CLASSICS 

IN THE GRADES OF THE 
COMMON SCHOOL 



BY 



CHARLES McMURRY, Ph.D. 



THE MACMILLAN COMPANY 

LONDON : MACMILLAN & CO., Ltd. 
1903 

j^Il rights reser'ved 




THt LIBRARY OF 
CONGRESS, 

Two Copies Received 

FEB 3 1903 

^ Cc^yrignl Entry 
CLASS tU XXo. No. 
COPY B. 



Copyright, 1903, 
By the MACMJLLAN COMPANY. 



Set up and electrotyped October, 1902. 



J. S. Gushing & Co. — Berwick St Smith 
Norwood Mass. U.S.A. 



CONTENTS 

CHAPTER I 

PAGE 

Educational Value of Literature . . . . i 
CHAPTER n 

The Use of Masterpieces as Wholes ... 41 

CHAPTER HI 
Literary Materials for the Five Upper Grades . 67 

CHAPTER IV 

Class-Room Method in Reading . . . .102 
CHAPTER V 

Method further Discussed and Illustrated . .135 
CHAPTER VI 

The Value of Classics to the Teacher . . . 176 

CHAPTER VII 
List of Books . - 205 

V 



SPECIAL METHOD OF CLASSICS 



CHAPTER I 

EDUCATIONAL VALUE OF LITERATURE 

The gradual introduction of the choicer products 
of literature into the grades of the common school 
has been going on for several years. Bringing the 
school children face to face with the thoughts of the 
masters has had often a thrilling effect, and the feel- 
ing has spread among teachers that a new door has 
been opened into what Ruskin calls The King's 
Gardens." As we stand at this open portal to the 
Elysian Fields of literature, there may fall upon us 
something of the beauty, something even of the 
solemn stillness, of the arched cathedral with its 
golden windows. But how inadequate is the Gothic 
cathedral, or the Greek temple, to symbolize the 
temple of literature. 

Within less than a score of years there has been 
such reading of varied literary masterpieces by chil- 
dren as to bring us face to face with a problem of 
prime significance in education, the place and im- 
portance of literature in the education of American 
children. 

B I 



2 



SPECIAL METHOD OF CLASSICS 



Millions of children are introduced yearly to book- 
land, and it is a matter of greater importance than 
what Congress does, what provision is made for 
these oncoming milhons in the sunUt fields and 
forest glades of literature, where the boys and girls 
walk in happy companionship with the *^ wisest and 
wittiest'' of our race. We have now had enough 
experience with these treasures of culture to get a 
real foretaste of the feast prepared for the growing 
youth. We know that their appetites are keen and 
their digestive powers strong. It is incumbent upon 
educators to get a comprehensive survey of this land 
and to estimate its resources. Other fields of study, 
like natural science, geography, music, etc., are 
undergoing the same scrutiny as to their educative 
value. Literature, certainly a peer in the hierarchy 
of great studies, if not supreme in value above others, 
is one of the most difficult to estimate. Tangible 
proofs of the vital culture-force of good literature 
upon growing minds can be given in many individual 
cases. But to what degree it has general or uni- 
versal fitness to awaken, strengthen, and refine all 
minds, is in dispute. 

It seems clear, at least, that only those who show 
taste and enthusiasm for a choice piece of literature 
can teach it with success. This requirement of ap- 
preciation and enjoyment of the study is more im- 
perative in literature, because its appeal is not merely 
to the intellect and the reason, as in other studies, 



EDUCATIONAL VALUE OF LITERATURE 3 

but especially to the emotions and higher aesthetic 
judgments, to moral and rehgious sentiment in ideal 
representation. 

It has been often observed that discussions of the 
superior educative value of literature before bodies 
of teachers, while entertaining and delightful, fall far 
short of lasting results because of the teachers' nar- 
row experience with literature. In the case of many- 
teachers, the primitive alphabet of literary apprecia- 
tion is lacking, and the most enthusiastic appeals to 
the charm and exaltation of such studies fall harmless. 
Yet literature in the schools is hopeless without teach- 
ers who have felt at home in this delightsome land, 
this most real world of ideal strength and beauty. 

The discussion of the subject for teachers is beset, 
therefore, with peculiar and seemingly insurmount- 
able difficulties. The strength, charm, and refine- 
ment of literature are known only to those who 
have read the masters with delight, while even 
people of cultured taste listen doubtfully to the 
praise of authors they have never read. To one 
enamoured of the music of Tennyson's songs, the 
very suggestion of In Memoriam " awakens en- 
thusiasm. To one who has not read Tennyson and 
his like, silence on the subject is golden. To those 
not much travelled in the fields of literature, there 
is danger of speaking in an unknown tongue, while 
they, of all others, need a plain and convincing word. 
To speak this plain and convincing word to those 



4 



SPECIAL METHOD OF CLASSICS 



who may have acquired but little relish for literature, 
and that little only in the fragmentary selections of 
the school readers, is a high and difficult aim. But 
teachers are willing to learn, and to discover new 
sources of enthusiasm in their profession. It is 
probable, also, that the original capacity to enjoy 
great literature is much more common than is often 
supposed, and that the great average of teachers is 
quite capable of receiving this powerful stimulus. 
The fact is, our common schools have done so 
little, till of late, to cultivate this fine taste, that 
we have faint reason to expect it in our teachers. 

Overwhelmed as we are with the folly of indulg- 
ing in the praise of literature before many whose 
ears have been but poorly attuned to the sweet 
melody or majestic rhythm of the masters, we still 
make bold to grapple with this argument. There 
is surely no subject to which the teachers need more 
to open their eyes and ears and better nature, so as to 
take in the enrichment it affords. There is encour- 
agement in the fact that many teachers fully appre- 
ciate the worth of these writers, and have succeeded 
in making their works beautiful and educative to 
the children. Very many other teachers are capable 
of the full refreshing enjoyment of classic works, 
when their attention and labor are properly expended 
upon them. The colleges, universities, high schools, 
and normal schools have largely abandoned the dull 
epitomizing of literature, the talk about authors, for 



EDUCATIONAL VALUE OF LITERATURE 5 

the study of the works themselves of the masters. 
The consequence is, that the study of literature in 
English is becoming an enthusiasm, and teachers 
of this type are multiplying. 

The deeper causes for this widespread lack of 
literary appreciation among the people, and even 
among teachers and scholars, is found partly in the 
practical, scientific, and utilitarian spirit of the age, 
and partly in the corresponding unliterary courses 
of study which have prevailed everywhere in our 
common schools. The absence of literary standards 
and taste among teachers is due largely to the 
failure of the schools themselves, hitherto, to cul- 
tivate this sort of proficiency. Those very qualities 
which give to literature its supreme excellence, its 
poetic beauty, its artistic finish and idealism, are 
among the highest fruits of culture, and are far 
more difficult of attainment than mere knowledge. 
It is no small thing to introduce the rarest and 
finest culture of the world into the common school, and 
thus propagate, in the broadest democratic fashion, 
that which is the peculiar, superior refinement of the 
choicest spirits of the world. If progress in this 
direction is slow, we may remember that the best 
ideals are slow of attainment. 

There is also an intangible quality in all first-class 
literature, which is not capable of exact description 
or demonstration. George Willis Cooke, in Poets 
and Problems'' (pp. 31-32), says: — 



6 



SPECIAL METHOD OF CLASSICS 



Poetry enters into those higher regions of human 
experience concerning which no definite account can 
be given; where all words fail; about which all we 
know is to be obtained by hints, symbols, poetic 
figures, and imagings. Poetry is truer and more 
helpful than prose, because it penetrates those 
regions of feeling, beauty, and spiritual reality, 
where definitions have no place or justification. 
There would be no poetry if life were limited to 
what we can understand; nor would there be any 
religion. Indeed, the joy, the beauty, and the 
promise of life would all be gone if there were 
nothing which reaches beyond our powers of defini- 
tion. The mystery of existence makes the grandeur 
and worth of man's nature, as it makes for him his 
poetry and his religion. Poetry suggests, hints, 
images forth, what is too wonderful, too transcen- 
dent, too near primal reality, too full of life, beauty, 
and joy, for explanation or comprehension. It 
embodies man's longing after the Eternal One, 
expresses his sense of the deep mystery of Being, 
voices his soul sorrow, illumines his path with hope 
and objects of beauty. Man's aspiration, his sense 
of imperfection, his yearning for a sustaining truth 
and reality, as the life within and over all things, 
find expression in poetry ; because it offers the 
fittest medium of interpretation for these higher 
movements of soul. Whenever the soul feels deeply, 
or is stirred by a great thought, the poetic form of 



EDUCATIONAL VALUE OF LITERATURE 7 

Utterance at once becomes the most natural and 
desirable for its lo\ing and faithful interpretation.'* 

This intangible excellence of superior literature, 
which defies all exact measurement by the yard- 
stick, puzzles the practical man and the scientist. 
There is no way of getting at it with their tools 
and measurements. They are very apt to give it 
up in disgust and dismiss it with some uncompli- 
mentary name. But Shakespeare's mild reign con- 
tinues, and old Homer sings his deathless song to 
those who wish to hear. 

Teachers need both the exact methods of science 
and the spiritual life of the poets, and we may well 
spend some pains in finding out the life-giving prop- 
erties of good literature. 

Lowell, in his Books and Libraries,'' says : — 

**To wash down the drier morsels that every 
library must necessarily offer at its board, let there 
be plenty of imaginative literature, and let its range 
be not too narrow to stretch from Dante to the elder 
Dumas. The world of the imagination is not the 
world of abstraction and nonentity, as some conceive, 
but a world formed out of chaos by a sense of the 
beauty that is in man and the earth on which he 
dwells. It is the realm of Might-be, our haven of 
refuge from the shortcomings and disillusions of life. 
It is, to quote Spenser, who knew it well, — 

" 'The world's sweet inn from care and wearisome 
turmoil.' Do we believe, then, that God gave us in 



8 



SPECIAL METHOD OF CLASSICS 



mockery this splendid faculty of sympathy with 
things that are a joy forever? For my part, I 
believe that the love and study of works of imagina- 
tion is of practical utility in a country so profoundly 
material (or, as we like to call it, practical) in its 
leading tendencies as ours. The hunger after purely 
intellectual delights, the content with ideal posses- 
sions, cannot but be good for us in maintaining a 
wholesome balance of the character and of the fac- 
ulties. I for one shall never be persuaded that 
Shakespeare left a less useful legacy to his country- 
men than Watt. We hold all the deepest, all the 
highest, satisfactions of life as tenants of imagination. 
Nature will keep up the supply of what are called 
hard-headed people without our help, and, if it come 
to that, there are other as good uses for heads as at 
the end of battering-rams." 

" But have you ever rightly considered what the 
mere ability to read means ? That it is the key which 
admits us to the whole world of thought and fancy 
and imagination ? to the company of saint and sage, 
of the wisest and wittiest at their wisest and wittiest 
moments ? That it enables us to see with the keen- 
est eyes, hear with the finest ears, and listen to the 
sweetest voices of all time ? More than that, it 
annihilates time and space for us ; it revives for us 
without a miracle the Age of Wonder, endowing us 
with the shoes of swiftness and the cap of darkness, 
so that we walk invisible like fern-seed, and witness 



EDUCATIONAL VALUE OF LITERATURE 9 

unharmed the plague at Athens or Florence or 
London ; accompany Caesar on his marches, or look 
in on Catiline in council with his fellow-conspirators, 
or Guy Fawkes in the cellar of St. Stephen's. We 
often hear of people who will descend to any servil- 
ity, submit to any insult, for the sake of getting them- 
selves or their children into what is euphemistically 
called good society. Did it ever occur to them that 
there is a select society of all the centuries to which 
they and theirs can be admitted for the asking, a 
society, too, which will not involve them in ruinous 
expense, and still more ruinous waste of time and 
health and faculties ? 

*^The riches of scholarship, the benignities of lit- 
erature, defy fortune and outlive calamity. They 
are beyond the reach of thief or moth or rust. As 
they cannot be inherited, so they cannot be alienated. 
But they may be shared, they may be distributed." 

This notion of the select companionship of books 
finds also happy expression in Ruskin's Sesame 
and Lilies " : — 

" We may intrude ten minutes' talk on a cabinet 
minister, answered probably with words worse than 
silence, being deceptive ; or snatch, once or twice in 
our lives, the privilege of throwing a bouquet in the 
path of a princess, or arresting the kind glance of 
a queen. And yet these momentary chances we 
covet; and spend our years, and passions, and 
powers in pursuit of little more than these; while, 



lO SPECIAL METHOD OF CLASSICS 

meantime, there is a society continually open to us, 
of people who will talk to us as long as we like, 
whatever our rank or occupation ; — talk to us in 
the best words they can choose, and with thanks 
if we listen to them. And this society, because it is 
so numerous and so gentle, — and can be kept wait- 
ing round us all day long, not to grant audience, but 
to gain it; kings and statesmen lingering patiently 
in those plainly furnished and narrow anterooms, our 
bookcase shelves, — we make no account of that 
company, — perhaps never listen to a word they 
would say, all day long ! 

*^ This court of the past differs from all living 
aristocracy in this : it is open to labor and to 
merit, but to nothing else. No wealth will bribe, 
no name overawe, no artifice deceive, the guardian 
of those Elysian gates. In the deep sense, no vile 
or vulgar person ever enters there. At the portieres 
of that silent Faubourg St.-Germain, there is but 
brief question, * Do you deserve to enter ? ' * Pass. 
Do you ask to be the companions of nobles ? Make 
yourself noble, and you shall be. Do you long for 
the conversation of the wise ? Learn to understand 
it, and you shall hear it. But on other terms ? — 
no. If you will not rise to us, we cannot stoop to 
you. The living lord may assume courtesy, the 
living philosopher explain his thought to you with 
considerable pain; but here we neither feign nor 
interpret ; you must rise to the level of our thoughts 



EDUCATIONAL VALUE OF LITERATURE II 



if you would be gladdened by them, and share our 
feelings, if you would recognize our presence/ 
Wordsworth says : — 

" Books, we know, 
Are a substantial world, both pure and good ; 
Round these, with tendrils strong as flesh and blood, 
Our pastime and our happiness will grow." 

Carlyle says : — 

**We learn to read, in various languages, in 
various sciences ; we learn the alphabet and letters 
of all manner of Books. But the place where we 
are to get knowledge, even theoretic knowledge, is 
the Books themselves ! It depends on what we read, 
after all manner of Professors have done their best 
for us. The true University of these days is a 
Collection of Books.'' 

Were we willing to accept the testimony of great 
writers and thinkers, we should but too quickly 
acknowledge the supreme value of books. James 
Baldwin, in the first chapter of his Book Lover," 
has collected more than a score of like utterances 
of great writers " In Praise of Books." Such tes- 
timony may at least suggest to some of us who 
have drunk but sparingly of the refreshing springs 
of literature, that there are better things in store 
for us. 

We will first inquire into those vital elements of 
strength which are peculiar to literature. 

One of the elements that goes into the make-up 



12 SPECIAL METHOD OF CLASSICS 

of a masterpiece of literature is its underlying, per- 
manent truth. Whether written to-day or in earlier 
centuries, it must contain lasting qualities that do 
not fade away or bleach out or decay. Time and 
weather do not stain or destroy its merit. Some 
classics, as Gray's Elegy," or Thanatopsis,'' are 
like cut diamonds. The quality that gives them 
force and brilliancy is inherent, and the form in 
which they appear has been wrought out by an 
artist. The fundamental value of a classic is the 
deep, significant truth which, like the grain in fine 
woods, is wrought into its very structure. The artist 
who moulds a masterpiece like Enoch Arden " or 
"The Scarlet Letter" is not a writer of temporary 
fame. The truth to which he feels impelled to give 
expression is strong, natural, human truth, which has 
no beginning and no end. It is true forever. Schil- 
ler's William Tell, though idealized, is a human 
hero with the hearty thoughts of a real man. Shy- 
lock is a Jew of flesh and blood, who will laugh if 
he is tickled, and break into anger if he is thwarted. 
The true poet builds upon eternal foundations. The 
bookmaker or rhymer is satisfied with empty or fleet- 
ing thoughts and with a passing notoriety. New 
books are often caught up and blazoned as classics 
which a few years reveal as patchwork and tinsel. 
Time is a sure test. Showy tinsel rusts and dulls 
its lustre, while simple poetic truth shines with grow- 
ing brightness. 



EDUCATIONAL VALUE OF LITERATURE I3 

Schlegel, in his Dramatic Art and Literature/* 
thus contrasts the false and the true (pp. 18-19): — 
Poetry, taken in its widest acceptation, as the 
power of creating what is beautiful, and represent- 
ing it to the eye or the ear, is a universal gift of 
Heaven, being shared to a certain extent even by 
those whom we call barbarians and savages. In- 
ternal excellence is alone decisive, and where this 
exists we must not allow ourselves to be repelled by 
the external appearance. Everything must be traced 
up to the root of human nature : if it has sprung 
from thence, it has an undoubted worth of its own ; 
but if, without possessing a living germ, it is merely 
externally attached thereto, it will never thrive nor 
acquire a proper growth. Many productions which 
appear at first sight dazzling phenomena in the prov- 
ince of the fine arts, and which as a whole have been 
honored with the appellation of works of a golden 
age, resemble the mimic gardens of children: impa- 
tient to witness the work of their hands, they break 
off here and there branches and flowers, and plant 
them in the earth ; everything at first assumes a noble 
appearance : the childish gardener struts proudly up 
and down among his showy beds, till the rootless 
plants begin to droop, and hang their withered leaves 
and blossoms, and nothing soon remains but the bare 
twigs, while the dark forest, on which no art or care 
was ever bestowed, and which towered up toward 
heaven long before human remembrance, bears every 



14 



SPECIAL METHOD OF CLASSICS 



blast unshaken, and fills the solitary beholder with 
religious awe/' 

In his Poets and Problems/' George Willis 
Cooke fitly portrays the poet's function (pp. 42, 32, 
and 44) : — 

" The poet must be either a teacher or an artist ; 
or, what is better, he may be both in one. There- 
fore, he can never stop at form or at what delights 
and charms merely. He must go on to the expres- 
sion of something of deep and real abidingness of 
thought and beauty. This comes at last to be the 
real thing for which he works, which he seeks to bring 
into expression with such power and grandeur in it as 
he can produce, and which he wills to send forth for 
the sake of this higher impression on the world." 

Man has within him a need for the food which 
does not perish ; he always is finding anew that he 
cannot live by bread alone. His mind will crave 
truth, his heart love, somewhat to satisfy the inward 
needs of life. A heavenly homesickness will draw 
him away from the material to those aesthetic and 
spiritual realities which are at the source of the tru- 
est poetry. Whenever these wants find fit interpreta- 
tion, the poet and the poetic method of expression 
appear and give to them outward forms of beauty. 
Consequently the poet is 

^ One in whom persuasion and belief 
Have ripened into faith, and faith become 
A passionate intuition.' 



EDUCATIONAL VALUE OF LITERATURE 1 5 

" The true poet is the man of his time who is most 
aHve, who feels, sees, and knows the most. In the 
measure of his hfe he is the greatest man of his age 
and country. His eye sees farther and more clearly ; 
his heart beats more warmly and with a more uni- 
versal sympathy ; his thought runs deeper and with 
a swifter current, than is the case with other men. 
He is the oracle and guide, the inspirer and the 
friend, of those to whom he sings. He creates life 
under the ribs of dead tradition ; he illumines the 
present with heart flames of beaconing truth, and he 
makes the future seem like home joys far off, but 
drawing ever nigher. The poet is the world's 
lover." 

Emerson found the Greeks standing as close 
to nature and truth as himself Essay on His- 
tory"):— 

"The costly charm of the ancient tragedy, and 
indeed of all old literature, is, that the persons speak 
simply, — speak as persons who have great good 
sense without knowing it, before yet the reflective 
habit has become the predominant habit of the mind. 
Our admiration of the antique is not admiration of 
the old, but of the natural. The Greeks are not 
reflective, but perfect in their senses and in their 
health, with the finest physical organization in the 
world. Adults acted with the simplicity and grace 
of children." 

In his ''Defence of Poetry" Shelley says: — 



l6 SPECIAL METHOD OF CLASSICS 

Poetry thus makes immortal all that is best and 
most beautiful in the world ; it arrests the vanishing 
apparitions which haunt the interlunations of life, 
and, veiling them or in language or in form, sends 
them forth among mankind, bearing sweet news 
of kindred joy to those with whom their sisters 
abide — abide, because there is no portal of expres- 
sion from the caverns of the spirit which they 
inhabit into the universe of things. Poetry redeems 
from decay the visitations of the divinity in man." 

Carlyle, in his " Heroes and Hero-worship," 
portrays the deeper art and insight of the poet 
thus : — 

For my own part, I find considerable meaning in 
the old vulgar distinction of Poetry being metrical, 
having music in it, being a Song. Truly, if pressed 
to give a definition, one might say this as soon as 
anything else : If your delineation be authentically 
musical, musical not in word only, but in heart and 
substance, in all the thoughts and utterances of it, 
in the whole conception of it, then it will be poetical ; 
if not, not. Musical T how much lies in that! A 
musical thought is one spoken by a mind that has 
penetrated into the inmost heart of the thing; de- 
tected the inmost mystery of it, namely the melody 
that lies hidden in it ; the inward harmony of coher- 
ence which is its soul, whereby it exists, and has a 
right to be, here in this world. All inmost things, 
we may say, are melodious ; naturally utter them- 



EDUCATIONAL VALUE OF LITERATURE 1/ 

selves in Song. The meaning of Song goes deep. 
Who is there that, in logical words, can express the 
effect music has upon us ? A kind of inarticulate 
unfathomable speech, which leads us to the edge of 
the Infinite, and lets us for moments gaze into that ! 

Nay all speech, even the commonest speech, has 
something of song in it: not a parish in the world 
but has its parish-accent ; — the rhythm or tune to 
which the people there sing what they have to say ! 
Accent is a kind of chanting ; all men have accent 
of their own,— though they only notice that of others. 
Observe, too, how all passionate language does of 
itself become musical, — with a finer music than the 
mere accent; the speech of a man even in zealous 
anger becomes a chant, a song. All deep things are 
Song. It seems somehow the very central essence 
of us. Song ; as if all the rest were but wrappages 
and hulls. The primal element of us ; of us, and of 
all things. The Greeks fabled of Sphere-Harmonies : 
it was the feeling they had of the inner structure of 
Nature ; that the soul of all her voices and utterances 
was perfect music. Poetry, therefore, we will call 
musical Thought. The Poet is he who thinks in 
that manner. At bottom, it turns still on power of 
intellect; it is a man's sincerity and depth of vision 
that makes him a Poet. See deep enough, and you 
see musically ; the heart of Nature being everywhere 
music, if you can only reach it.'' 

" Or indeed we may say again, it is in what I 



1 8 SPECIAL METHOD OF CLASSICS 

called Portrait-painting, delineating of fnen and 
things, especially of men, that Shakespeare is great. 
All the greatness of the man comes out decisively 
here. It is unexampled, I think, that calm creative 
perspicacity of Shakespeare. The thing he looks 
at reveals not this or that face of it, but its inmost 
heart, and generic secret: it dissolves itself as in 
light before him, so that he discerns the perfect 
structure of it. Creative, we said : poetic creation, 
what is this, too, but seeing the thing sufficiently ? 
The word that will describe the thing, follows of 
itself from such clear intense sight of the thing. 
And is not Shakespeare's morality, his valor, candor, 
tolerance, truthfulness ; his whole victorious strength 
and greatness, which can triumph over such obstruc- 
tions, visible there too ? Great as the world ! No 
twisted, poor convex-concave mirror, reflecting all 
objects with its own convexities and concavities ; a 
perfectly level mirror, — that is to say withal, if we 
will understand it, a man justly related to all things 
and men, a good man. It is truly a lordly spectacle 
how this great soul takes in all kinds of men and 
objects, a Falstaff, an Othello, a Juliet, a Coriolanus; 
sets them all forth to us in their round completeness ; 
loving, just, the equal brother of all. * Novum 
Organum,' and all the intellect you will find in 
Bacon, is of a quite secondary order ; earthy, mate- 
rial, poor in comparison with this. Among modern 
men, one finds, in strictness, almost nothing of the 



EDUCATIONAL VALUE OF LITERATURE 1 9 

same rank. Goethe alone, since the days of Shake- 
speare, reminds me of it. Of him^, too, you say that 
he saw the object; you may say what he himself 
says of Shakespeare, * His characters are like watches 
with dial-plates of transparent crystal; they show 
you the hour like others, and the inward mechanism 
also is all visible.' " 

" Dante, for depth of sincerity, is like an antique 
Prophet, too ; his words, like theirs, come from his 
very heart. One need not wonder if it were pre- 
dicted that his Poem might be the most enduring 
thing our Europe has yet made; for nothing so 
endures as a truly * spoken word. All cathedrals, 
pontificalities, brass and stone, and outer arrange- 
ment never so lasting, are brief in comparison to an 
unfathomable heart-song like this : one feels as if 
it might survive, still of importance to men, when 
these had all sunk into new irrecognizable combina- 
tions, and had ceased individually to be. Europe 
has made much ; great cities, great empires, encyclo- 
paedias, creeds, bodies of opinion and practice : but 
it has made little of the class of Dante's Thought. 
Homer yet is, veritably present face to face with 
every open soul of - us; and Greece, where is it? 
Desolate for thousands of years ; away, vanished ; 
a bewildered heap of stones and rubbish, the life 
and existence of it all gone. Like a dream ; like 
the dust of King Agamemnon ! Greece was; Greece, 
except in the words it spoke, is not." 



20 SPECIAL METHOD OF CLASSICS 

J. C. Shairp, in his " On Poetic Interpretation of 
Nature (p. 19), says : — 

" The real nature and intrinsic truth of Poetry will 
be made more apparent, if we may turn aside for 
a moment to reflect on the essence of that state of 
mind which we call poetic, the genesis of that crea- 
tion which we call Poetry. Whenever any object of 
sense, or spectacle of the outer world, any truth of 
reason, or event of past history, any fact of human 
experience, any moral or spiritual reality ; whenever, 
in short, any fact or object which the sense, or the 
intellect, or the soul, or the spirit of man can appre- 
hend, comes home to one so as to touch him to the 
quick, to pierce him with a more than usual vivid- 
ness and sense of reality, then is awakened that 
stirring of the imagination, that glow of emotion, in 
which Poetry is born. There is no truth cognizable 
by man which may not shape itself into Poetry." 

The passages just quoted are but examples of 
many that might be cited expressing the strength 
and scope of the poetic spirit, its truth-revealing 
quality, its penetrating yet comprehensive grasp of 
the realities. Shelley says, "A poem is the very 
image of life expressed in its eternal truth ; and 
Wordsworth that poetry is " the breath and finer spirit 
of all knowledge.'' These utterances will hardly be 
deemed poetical extravagancies to one who has read 
such things as the Ninetieth Psalm, King Lear," or 
" The Deserted Village," or Elaine." 



EDUCATIONAL VALUE OF LITERATURE 21 

There is no form of inspiring truth which does not 
find expression in literature, but it is preeminently a 
revelation of human life and experience, a proclama- 
tion from the housetops of the supreme beauty and 
excellence of truth and virtue. This brings us close 
to the question of moral education, and the elements 
in literature that contribute to this end. Literary 
critics are quick to take alarm at the propensity of the 
schoolmaster and the moralist to make literature the 
vehicle of moral training. To saddle the poets with 
a moral purpose would be like changing Pegasus into 
a plough-horse. But the moral quality in the best 
literature is not something saddled on, it is rather 
like the frame and muscle which give strength to 
the body, or, to use a more fitting figure, it is the 
very pulse and heart-beat of the highest idealism. 
The proneness toward moralizing, toward formal 
didacticism, can be best of all corrected by the use 
of choice literature. The best literature is free from 
moral pedantry, but full of moral suggestion and 
stimulus. Edmund Clarence Stedman says, in his 
''Nature and Elements of Poetry" (p. 216): — 

"The highest wisdom — that of ethics — seems 
closely affiliated with poetic truth. A prosaic moral 
is injurious to virtue, by making it repulsive. The 
moment goodness becomes tedious and unideal in a 
work of art, it is not real goodness ; the would-be 
artist, though a very saint, has mistaken his form of 
expression. On the other hand, extreme beauty and 



22 SPECIAL METHOD OF CLASSICS 

power in a poem or picture always carry a moral, 
they are inseparable from a certain ethical standard ; 
while vice suggests a depravity. . . . An obtrusive 
moral in poetic form is a fraud on its face, and out- 
lawed of art. But that all great poetry is essentially 
ethical is plain from any consideration of Homer, 
Dante, and the best dramatists and lyrists, old and 
new." 

In literature, as in life, those persons make the 
strongest moral impression who have the least ex- 
press discussion of morals. Their actions speak, and 
the moral qualities appear, not in didactic formality 
and isolation, but in their life setting. This is seen 
in the great dramas, novels, and epic poems. 

These masterpieces are of strong and lasting value 
to the schools because they bring out human conduct 
and character in a rich variety of forms corresponding 
to life. Against the background of scenery created 
by the poet, men and women and children march 
along to their varied performances. Theseus, Ulysses, 
Crusoe, Aladdin, Alfred, Horatius, Cinderella, Portia, 
Evangeline, — they speak and act before us with all 
the realism and fidelity to human instincts peculiar to 
the poet's art. These men and women, who are set 
in action before us, stir up all our dormant thought- 
energy. We observe and judge their motives and 
approve or condemn their actions. We are stirred to 
sympathy or pity or anger. Such an intense study 
of motives and conduct, as offered in literature, is 



EDUCATIONAL VALUE OF LITERATURE 23 



Kke a fresh spring from which well up strengthening 
waters. The warmth and energy with which judg- 
ments are passed upon the deeds of children and 
adults is the original source of moral ideas. Litera- 
ture is especially rich in opportunities to register 
these convictions. It is not the bare knowledge of 
right and wrong developed, but the deep springs of 
feeling and emotion are opened, which gush up into 
volitions and acts. 

Just as we form opinions of people from their 
individual acts, and draw inferences as to their char- 
acter and motives, so the overt act of Brutus or of 
Miles Standish stands out so clear against the back- 
ground of passing events that an unerring judgment 
falls upon the doer. A single act, seen in its rela- 
tions, always calls forth such a sentence of good or 
ill. Whether it be a gentle deed of mercy, or the 
hammer-stroke that fells a giant or routs an army, as 
with Charles Martel or Alfred, the sense of right or 
wrong is the deep underflow that gives meaning to all 
events and stamps character. 

There is, however, a deeper and more intense moral 
teaching in literature than that which flows from the 
right or wrong of individual acts. The whole life 
and evolution of character in a person, if graphically 
drawn, reveal the principles of conduct and their 
fruitage. Character is a growth. Deeds are only 
the outward signs of the direction in which the soul 
is moving. A dramatist like Shakespeare, or a novel- 



24 



SPECIAL METHOD OF CLASSICS 



ist like George Eliot, gives us a biographical develop- 
ment. Deeds are done which leave their traces. 
Tendencies are formed which grow into habits, and 
thus a character ripens steadily toward its reward. 
We become conscious that certain deeper principles 
control thought and action, whether good or bad. 
There is a rule of law, a sort of fatahsm, in human 
life. The mills of the gods grind slow, but they 
grind exceeding small.'' It is the function of the 
dramatist or novelist to reveal these working princi- 
ples in conduct. When the principle adopted by the 
actor is a good one, it works out well-being in spite of 
misfortunes ; when evil, the furies are on the track of 
the evil-doer. Men do not gather grapes of thorns 
or figs of thistles. As we move on from step to step 
in a life-history, the sympathy deepens. The fatal 
infliuence of a false step, followed up, is keenly felt 
by the reader ; the upward tendency of a right act 
inspires and lifts into freedom. But whether we love 
or hate or pity, the character moves on in the course 
which his deeds mark out. When finally he is over- 
whelmed in shame and defeat, we see the early ten- 
dencies and later forces which have led to this result. 
If ethical triumph is achieved, we recognize the re- 
ward of generous, unselfish impulses followed out. 

As the interest in such a life-history deepens, the 
lessons it evolves come out with convincing and 
overwhelming power. The effect of a great novel 
or drama is more intense and lasting than any 



EDUCATIONAL VALUE OF LITERATURE 25 

sermon. The elements of thought and feeHng have 
been accumulating energy and momentum through 
all the scenes, and when contracted into a single 
current at the close they sweep forward with the 
strength of a river. A masterpiece works at the 
foundations of our sympathies and moral judgments. 
To bring ourselves under the spell of a great author 
and to allow him, hour after hour and perhaps for 
days in succession, to sway our feelings and rule 
far up among the sources of our moral judgments, 
is to give him great opportunity to stamp our char- 
acter with his convictions. We seldom spend so 
many hours in close companionship with a living 
friend as with some master of the art of character- 
delineation. Children are susceptible to this strong 
influence. Many of them take easily to books, and 
many others need but wise direction to bring them 
under the touch of their formative influence. A 
book sometimes produces a more lasting effect upon 
the character and conduct of a child than a close 
companion. Nor is this true only in the case of 
book-lovers. It is probable that the great majority 
of children may feel the wholesome effect of such 
books if wisely used at the right time. To select 
a few of the best books as companions to a child, 
and teach him to love their companionship, is one 
of the most hopeful things in education. The boy 
or girl who reads some of our choice epics, stories, 
novels, dramas, and biographies, allowing the mind 



26 



SPECIAL METHOD OF CLASSICS 



to ponder upon the problems of conduct involved, 
will receive many deep and permanent moral lessons. 
The realism with which the artist clothes his char- 
acters only strengthens the effect and makes them 
lasting food for thought in the coming years. Even 
in early childhood we are able to detect what is 
noble and debasing in conduct as thus graphically 
and naturally revealed, and a child forms an unerring 
judgment along moral lines. The best influence that 
literature has to bestow, therefore, may produce its ef- 
fect early in tender years, where impressions are deep 
and permanent. There are many other elements of 
lasting culture-value in the study of literature, but 
first of all the deep and permanent truths taught by 
the classics are those of human life and conduct. 

George Willis Cooke gives clear and simple ex- 
pression to the ethical force in poetry Poets and 
Problems,'' p. 46) : — 

*^True poetry is for instruction as much as for 
pleasure, though it inculcate no formal lessons. 
Right moral teaching is by example far more than 
by precept ; and the real poet teaches through the 
higher purpose he arouses, by the stimulus he gives, 
and by the purer motive he awakens. He gives 
no precept to recite, no homilies to con over, no rules 
for formal repetition ; but he gives the spirit of life 
and the impulse of true activity. An infallible test 
of the great poet is that he inspires us with a sense 
of the richness and grandeur of life/' 



EDUCATIONAL VALUE OF LITERATURE 2/ 

Rooted in the genuine realism of social life, moral 
ideas are still more strongly energized by feeling and 
even by passion. It is doubtful if moral ideas have 
any roots that do not reach down into deep and 
genuine feeling. 

Ruskin, in Sesame and Lilies/' speaks to the 
point. 

"Having then faithfully listened to the great 
teachers, that you may enter into their Thoughts, 
you have yet this higher advance to make, — you 
have to enter into their Hearts. As you go to them 
first for clear sight, so you must stay with them that 
you may share at last their just and mighty Passion. 
Passion, or " sensation." I am not afraid of the 
word ; still less of the thing. You have heard many 
outcries against sensation lately ; but, I can tell you, 
it is not less sensation we want, but more. The en- 
nobling difference between one man and another — 
between one animal and another — is precisely in 
this, that one feels more than another. If we were 
sponges, perhaps sensation might not be easily got 
for us ; if we were earthworms, liable at every 
instant to be cut in two by the spade, perhaps too 
much sensation might not be good for us. But, 
being human creatures, it is good for us; nay, we 
are only human in so far as we are sensitive, and 
our honor is precisely in proportion to our passion. 

" You know I said of that great and pure society 
of the dead, that it would allow * no vain or vulgar 



28 



SPECIAL METHOD OF CLASSICS 



person to enter there/ What do you think I meant 
by a * vulgar ' person ? What do you yourselves 
mean by * vulgarity ' ? You will find it a fruitful 
subject of thought; but, briefly, the essence of all 
vulgarity lies in want of sensation. Simple and in- 
nocent vulgarity is merely an untrained and unde- 
veloped bluntness of body and mind ; but in true 
inbred vulgarity, there is a deathful callousness, 
which, in extremity, becomes capable of every sort 
of bestial habit and crime, without fear, without 
pleasure, without horror, and without pity. It is in 
the blunt hand and the dead heart, in the diseased 
habit, in the hardened conscience, that men become 
vulgar ; they are forever vulgar, precisely in pro- 
portion as they are incapable of sympathy, — of 
quick understanding, — of all that, in deep insist- 
ence on the common, but most accurate term, may 
be called the * tact ' or touch-faculty of body and 
soul ; that tact which the Mimosa has in trees, which 
the pure woman has above all creatures, — fineness 
and fulness of sensation, beyond reason, — the guide 
and sanctifier of reason itself. Reason can but de- 
termine what is true : it is the God-given passion of 
humanity which alone can recognize what God has 
made good. 

We come then to the great concourse of the Dead, 
not merely to know from them what is True, but 
chiefly to feel with them, what is Righteous. Now 
to feel with them we must be like them ; and none 



EDUCATIONAL VALUE OF LITERATURE 29 

of US can become that without pains. As the true 
knowledge is disciplined and tested knowledge, — not 
the first thought that comes, — so the true passion 
is disciplined and tested passion, — not the first 
passion that comes/' 

When we add to this deep feeling and sympathy 
the versatile poetic imagination which freely con- 
structs all phases of social life and conduct, we have 
that union of the great powers of the mind and heart 
which give such concentrated ethical energy to the 
best literature. 

Shelley, in his Defence of Poetry*' (pp. 13-14, 
20), says : — 

''The whole objection, however, of the immor- 
ality of poetry rests upon a misconception of the 
manner in which poetry acts to produce the moral 
improvement of man. Ethical science arranges 
the elements which poetry has created, and pro- 
pounds schemes and proposes examples of civil and 
domestic life; nor is it for want of admirable doc- 
trines that men hate, and despise, and censure, 
and deceive, and subjugate one another. But 
poetry acts in another and diviner manner. It 
awakens and enlarges the mind itself by rendering 
it the receptacle of a thousand unapprehended com- 
binations of thought. Poetry lifts the veil from the 
hidden beauty of the world, and makes familiar 
objects be as if they were not familiar ; it reproduces 
all that it represents, and the impersonations clothed 



30 



SPECIAL METHOD OF CLASSICS 



in its Elysian light stand thenceforward in the minds 
of those who have once contemplated them, as 
memorials of that gentle and exalted content which 
extends itself over all thoughts and actions with 
which it coexists. The great secret of morals is 
love ; or a going out of our own nature, and an 
identification of ourselves with the beautiful which 
exists in thought, action, or person, not our own. A 
man, to be greatly good, must imagine intensely 
and comprehensively ; he must put himself in the 
place of another and of many others ; the pains _ 
and pleasures of his species must become his own. 
The great instrument of moral good is the imagina- 
tion ; and poetry administers to the effect by acting 
upon the cause." 

" The drama being that form under which a 
greater number of modes of expression of poetry 
are susceptible of being combined than any other, 
the connection of poetry and social good is more 
observable in the drama than in whatever other 
form. And it is indisputable that the highest per- 
fection of human society has ever corresponded with 
the highest dramatic excellence ; and that the corrup- 
tion or the extinction of the drama in a nation where 
it has once flourished, is a mark of corruption of 
manners, and an extinction of the energies which 
sustain the soul of social life." 

The inseparable union of the intellectual, moral, 
and imaginative elements is well expressed by 



EDUCATIONAL VALUE OF LITERATURE 3 1 

Shairp in his On Poetic Interpretation of 
Nature " (pp. 23-24): — 

Imagination in its essence seems to be, from the 
first, intellect and feeling blended and interpenetrat- 
ing each other. Thus it would seem that purely 
intellectual acts belong to the surface and outside 
of our nature, — as you pass onward to the depths, 
the more vital places of the soul, the intellectual, 
the emotional, and the moral elements are all equally 
at work, — and this in virtue of their greater reality, 
their more essential truth, their nearer contact with 
the centre of things. To this region belong all 
acts of high imagination — the region intermediate 
between pure understanding and moral affection^ 
partaking of both elements, looking equally both 
ways.'' 

Besides the moral element or fundamental truth in- 
volved, every classic masterpiece is infused therefore 
with an element of imagination. Whether in prose or 
verse, the artist reveals himself in the creative touch. 
The rich coloring and imagery of his own mind give 
a tint to every object. The literary artist is never 
lacking in a certain, perhaps indefinable, charm. He 
possesses a magic wand that transforms into beauty 
every commonplace object that is met. We observe 
this in Irving, Hawthorne, Warner, as well as in still 
greater literary masters. Our poets, novehsts, and 
essayists must all dip their pens in this magic ink. 
Even Webster and Burke, Lincoln and Sumner, must 



32 



SPECIAL METHOD OF CLASSICS 



rise to the region of fancy if they give their thought 
sufficient strength of wing to carry it into the coming 
years. The themes upon which they discoursed 
kindled the imagination and caused them to break 
forth into figures of speech and poetic Hcense. The 
creative fancy is that which gives beauty, pictu- 
resqueness, and charm to all the work of poet or 
novelist. This element of fancy diffuses itself as 
a living glow through every classic product that 
was made to endure. In the masters of style the 
rhythmic flow and energy of language are enlivened 
by poetic imagery. Figures of speech in archi- 
tectural simplicity and chasteness stand out to sym- 
bolize thought. That keenness and originality which 
astonishes us in master thinkers is due to the magic 
vigor and picturesqueness of their images. Under- 
neath and permeating all this wealth of ideas is 
the versatile and original mind which sees everything 
in the glow of its own poetic temperament, kin- 
dling the susceptible reader to like inspiration. 
Among literary masters this creative power shows 
itself in an infinite variety of forms, pours itself 
through a hundred divergent channels, and links 
itself so closely with the individuality of the writer 
as to merge imperceptibly into his character and 
style. But as we cannot secure wholesome bread 
without yeast, so we shall fail of a classic without 
imagination. 

Stedman says : If anything great has been 



EDUCATIONAL VALUE OF LITERATURE 33 

achieved without exercise of the imagination, I do 
not know it. I am referring to striking productions 
and achievements, not to acts of virtue. Neverthe- 
less, at the last analysis, it might be found that 
imagination has impelled even the saints and 
martyrs of humanity. Imagination is the creative 
origin of what is fine, not in art and song alone, 
but also in all forms of action — in campaigns, civil 
triumphs, material conquest. I have mentioned its 
indispensability to the scientists." He says further : 

Ytt if there is one gift which sets Shakespeare at 
a distance even from those who approach him on 
one or another side, it is that of his imagination. 
As he is the chief of poets, we infer that the faculty 
in which he is supereminent must be the greatest of 
poetic endowments. Yes : in his wonderland, as 
elsewhere, imagination is king." 

Not only is it true that the vitality of poets and 
prose writers, the conceptive power of scientists, 
inventors, and business organizers, depend upon 
the fertility and strength of the imagination, but 
throughout the broader reaches of common humanity 
this power is everywhere present — constructive 
and creative. Max M tiller has shown that the 
root words of language are imbedded in metaphor, 
that " Language is fossil poetry." Again, the 
mythologies of the different races, grand and stately, 
or fair and lovely, are the immediate product of 
the folk mind. 



34 



SPECIAL METHOD OF CLASSICS 



It has been said that The man of culture is 
preeminently a man of imagination/' But the 
kind of mental alertness, freedom, and joy which is 
suggested by the term culture may spring up in the 
heart of every boy and girl endowed with a modicum 
of human nature. Hamilton Wright Mabie, in his 
" Books and Culture" (pp. 148-149), says : — 

The development of the imagination, upon the 
power of which both absorption of knowledge and 
creative capacity depend, is, therefore, a matter of 
supreme importance. To this necessity educators 
will some day open their eyes, and educational sys- 
tems will some day conform ; meantime, it must be 
done mainly by individual work. Knowledge, disci- 
pline, and technical training of the best sort are 
accessible on every hand ; but the development of 
the faculty which unites all these in the highest form 
of activity must be secured mainly by personal effort. 
The richest and most accessible material for this 
highest education is furnished by art ; and the form 
of art within reach of every civihzed man, at all 
times, in all places, is the book. To these master- 
pieces, which have been called the books of life, all 
men may turn with the assurance that as the supreme 
achievements of the imagination they have the power 
of awakening, stimulating, and enriching it in the 
highest degree." 

Besides the strong thread of truth and the work 
of the swift-glancing shuttle of imagination, the 



EDUCATIONAL VALUE OF LITERATURE 35 

woven fabric of the literary master must show a 
beauteous pattern or form. The melody and music 
of poetry spring from a rhythmic form. Appar- 
ently stiff and formal, it is yet the consensus of 
critics that only through this channel can the soul 
of truth and beauty escape from the poet, and mani- 
fest itself to others. Says George Willis Cooke, 
^*The poet worships at the triple shrine of beauty, 
love, and truth ; and his mission is to teach men that 
all other objects and places of veneration are but 
faint imitations of this one form of faith.'' But the 
spirit of this worship can best embody itself in the 
poetic form. 

Schlegel, in his "Dramatic Art and Literature*' 
(p. 340), says: — 

The works of genius cannot therefore be per- 
mitted to be without form ; but of this there is no 
danger. . . . [Some] critics . . . interpret it [form] 
merely in a mechanical, and not in an organical 
sense. . . . Organical form, again, is innate ; it 
unfolds itself from within, and acquires its determi- 
nation contemporaneously with the perfect develop- 
ment of the germ. We everywhere discover such 
forms in nature throughout the whole range of living 
powers, from the crystallization of salts and minerals 
to plants and flowers, and from these again to the 
human body. In the fine arts, as well as in the 
domain of nature, — the supreme artist, — all genuine 
forms are organical, that is, determined by the qual- 



36 



SPECIAL METHOD OF CLASSICS 



ity of the work. In a word, the form is nothing but 
a significant exterior, the speaking physiognomy of 
each thing, which, as long as it is not disfigured by 
any destructive accident, gives a true evidence of its 
hidden essence." 

Some products, like the Paradise Lost," ''Thana- 
topsis," and Hamlet," show such a perfect fitness of 
form to thought that every effort to change or mod- 
ify is profanation. The classic form and thought go 
together. As far as possible, therefore, it is desir- 
able to leave these creations in their native strength, 
and not to mar the work of masters. The poet has 
moulded his thought and feeling into these forms 
and transfused them with his own imagery and indi- 
viduality. The power of the writer is in his pecuHar 
mingling of the poetic elements. Our English and 
American classics, therefore, should be read in their 
original form as far as possible. 

A fixed form is not always necessary. We need 
many of the stories and epics that were written in 
other languages. Fortunately some of the works of 
the old poets are capable of taking on a new dress. 
The story of Ulysses has been told in verse and 
prose, in translation, paraphrase, and simple nar- 
rative for children. Much, indeed of the old 
beauty and original strength of the poem is lost in 
all these renderings ; but the central truths which 
give the poetic work its persistent value are still 
retained. Such a poem is like a person ; the under- 



EDUCATIONAL VALUE OF LITERATURE 3/ 

lying thought, though dressed up by different per- 
sons with varying taste and skill, is yet the same ; 
the same heart beats beneath the kingly robes and 
the peasant's frock. Robinson Crusoe has had many 
renderings, but remains the same old story in spite of 
variations. The Bible has been translated into all 
modern tongues, but it is a classic in each. The Ger- 
mans claim they have as good a Shakespeare as we. 

But many of the best masterpieces were originally 
written in other languages, and to be of use to us the 
ancient form of thought must be broken. The spirit 
of the old masters must be poured into new moulds. 
In educating our children we need the stories of 
Bellerophon, Perseus, Hercules, Rustum, Tell, Sieg- 
fried, Virginius, Roland, Wallace, King Arthur. 
Happily some of the best modern writers have come 
to our help. Walter Scott, Macaulay, Dickens, 
Kingsley, Hawthorne, Irving, and Arnold have 
gathered up the old wine and poured it into new 
bottles. They have told the old stories in simple 
Anglo-Saxon for the boys and girls of our homes 
and schools. Nor are these renderings of the old 
masters lacking in that element of fancy and vigor 
of expression which distinguishes fertile writers. 
They have entered freely and fondly into the old 
spirit, and have allowed it to pour itself copiously 
through these modern channels. It takes a poet, in 
fact, to modernize an ancient story. There are, 
indeed, many renderings of the old stories which 



38 



SPECIAL METHOD OF CLASSICS 



are not ideal, which, however, we sometimes use for 
lack of anything better. 

From the preceding discussion we may conclude 
that a choice piece of literature must embody a last- 
ing truth, reveal the permeating glow of an artist's 
imagination, and find expression in some form of 
beauty. But these elements are so mingled and 
interlaced, so organically grown into one living plant, 
that even the critics have given up the effort to 
dissect and isolate them. 

There are other strength-conferring qualities in 
good literature which will be discussed more fully in 
those chapters which deal with the particular literary 
materials selected for use in the schools. 

Among the topics to be treated in connection with 
materials which illustrate them, are the following: 
the strong handUng of essential historical ideas in 
literature ; the best novel and drama, as sources and 
means of culture ; religious ideals as embodied in the 
choicest forms of literature; the powerful patriotic 
and social influence of the best writers ; the educa- 
tive quality of the humorous phases of literature ; the 
great writers as models of skill and enthusiasm in 
teaching. 

In the foregoing pages the significance of literature 
among great studies has been but briefly and inade- 
quately suggested by these few quotations and com- 
ments. It would be easy to multiply similar testimony 
from the most competent judges. But enough has 



EDUCATIONAL VALUE OF LITERATURE 39 



been said to remind teachers of this rich treasure 
house of educative materials. Those teachers who 
wish to probe deeper into this subject will find that it 
has been handled in a masterly way by some of the 
great essayists and critics. We will suggest the fol- 
lowing for more elaborate study : — 

Ruskin's Sesame and Lilies." The power and 
charm of Ruskin's writing appears in full measure in 
these essays. 

Carlyle's " Heroes and Hero Worship/' especially 
the chapters on " The Hero as Poet," and " The Hero 
as Man of Letters." 

Shelley's Defence of Poetry " (edited by Cook, 
and published by Ginn & Co.) is a literary master- 
piece of rare beauty and charm. 

Emerson's "Essay on History.'' 

George Willis Cooke, Poets and Problems " 
(Houghton, Mifflin, & Co.). The first chapter, " The 
Poet as Teacher," is very suggestive, while the chap- 
ters on Tennyson, Ruskin, and Browning are fine 
introductions for those who will study the authors 
themselves. 

" The Book Lover," James Baldwin (McClurg & 
Co.). 

Charles Kingsley's " Literary and General Essays'' 
(Macmillan & Co.). Chapter on " English Literature," 
and others. 

Scudder's Literature in Schools " (Houghton, 
Mifflin, & Co.). Excellent for teachers. 



40 



SPECIAL METHOD OF CLASSICS 



J. C. Shairp, On Poetic Interpretation of Na- 
ture (Houghton, Mifflin, & Co.). 

Matthew Arnold's " Sweetness and Light/' 

Lowell's Books and Libraries " (Houghton, 
, Mifflin, & Co.). 

Edmund Clarence Stedman's "The Nature and 
Elements of Poetry " (Houghton, Mifflin, & Co.). 

It is not implied that even the essays of critics on 
the merits of literature can take the place of a study 
of the works of the best writers. 



CHAPTER II 



THE USE OF MASTERPIECES AS WHOLES 

With the increasing tendency to consider the 
literary quality and fitness of the reading matter used 
in our schools, longer poems and stories, hke " Snow 
Bound,'^ Rip Van Winkle," Hiawatha," Alad- 
din," *^The Courtship of Miles Standish," "The 
Great Stone Face," and even " Lady of the Lake " 
and Julius Caesar," are read and studied as com- 
plete wholes. Many of the books now used as read- 
ers are not collections of short selections and extracts, 
as formerly, but editions of single poems, or kindred 
groups, like " Sohrab and Rustum," or the " Ara- 
bian Nights," or Gulliver's Travels," or a collection 
of a few complete stories or poems of a single author, 
as Hawthorne's " Stories of the White Hills," or 
Lowell's Vision of Sir Launfal," and other poems. 
Even the regular series of readers are often made up 
largely of longer poems and prose masterpieces. 

The significance of this change is the deeper re- 
gard which is being paid to good literature as a strong 
agency of true culture. The real thought and the 
whole thought of the best authors is sought for, pre- 
supposing, of course, that they are within the range 

41 



42 



SPECIAL METHOD OF CLASSICS 



of the children's comprehension. The reading books 
of a generation ago contained oftentimes just as 
choice literary materials as now ; but the chief pur- 
pose of its selection was to give varied exercise in 
oral reading, not to cultivate a taste for good litera- 
ture by furnishing complete poetic and prose speci- 
mens for full and enthusiastic study. The teachers 
who lay stress on elocutionary skill are not quite 
satisfied with this drift toward literary study as such. 
It remains to be seen how both aims, good oral ren- 
dering and superior literary training, can be secured 
at the same time. 

At the close of the last chapter of this volume we 
give a carefully selected series of the literary ma- 
terials adapted to the different grades. This body 
of selections, taken from a wide range of litera- 
ture, will constitute a basis for our whole treatise. 
Having made plain by our previous discussion what 
we understand by the quality of literary masterpieces, 
we will next consider why these poems and stories 
should be read and studied as complete wholes, not 
by fragments or by extracts, but as whole works of 
literary art. 

I. A stronger interest is developed by the study, 
for several weeks, of a longer complete masterpiece. 
The interest grows as we move into such a story 
or poem as " Sohrab and Rustum.'' A longer and 
closer acquaintance with the characters represented 
produces a stronger personal sympathy, as in the 



THE USE OF MASTERPIECES AS WHOLES 43 

case of Cordelia in King Lear," or of Silas Marner. 
The time usually spent in school upon some classic 
fragment or selection is barely sufficient to start up 
an interest. It does not bring us past the threshold 
of a work of art. We drop it just at the point where 
the momentum of interest begins to show itself. 
Think of the full story of Aladdin or Crusoe or 
Ulysses. Take an extract from Lady of the 
Lake," Rip Van Winkle," Evangeline." The 
usual three or four pages given in the reader, even 
if taken from the first part, would scarcely suffice to 
bring the children into the movement of the story ; 
but oftentimes the fragment is extracted from the 
body of the play without preliminary or sequence. 
In reading a novel, story, or poem, we do not begin to 
feel strongly this interest till two or three chapters are 
passed. Then it begins to deepen, the plot thickens, 
and a desire springs up to follow out the fortune of 
the characters. We become interested in the persons, 
and our thoughts are busy with them in the midst of 
other employments or in leisure moments. The per- 
sonality of the hero takes hold of us as that of an 
intimate friend. Such an interest, gradually awakened 
and deepened as we move into the comprehension of 
a work of art, is the open sesame to all the riches of 
an author's storehouse of thought. 

This kind of interest presupposes in the children 
the ability to appreciate and enjoy the thought, and 
even the style, of the author. Interest in this sense 



44 



SPECIAL METHOD OF CLASSICS 



is a fundamental test of the suitableness of the story 
or poem to lay hold of the inner life of the children. 
In many cases there will be difficulties at the outset 
in awakening this genuine form of interest, but 
if the selection is appropriate, the preparation 
and skill of the teacher will be equal to its 
accomplishment. 

As we get deeper into the study of masterpieces, 
we shall discover that there are stronger and deepen- 
ing sources of a genuine interest. Even the difficul- 
ties and problems which are supposed to dampen 
interest will be found, with proper study, to be the 
source of a stronger appreciation and enthusiasm. 
The refining and strengthening of these interests in 
literature leads on steadily to the final goal of study, 
a cultivated taste and habit of using the best books. 

2. A complete work of a master writer is a unit 
of thought. It is almost as complete a whole as 
a living organism. Its parts, like the branches of a 
tree, have no vitality except in communication with 
the living trunk. In the '^Vision of Sir Launfal," 
there is a single thought, like a golden thread, run- 
ning through the poem, which gives unity and per- 
fection to it. The separate parts of the poem have 
very great intrinsic beauty and charm, but their 
deeper and more vital relation is to this central 
thought. The story of *^The Great Stone Face" is 
the grouping of a series of interesting episodes along 
the path of a single developing motive in the life of 



THE USE OF MASTERPIECES AS WHOLES 45 

Ernest. A great writer would scarcely waste his 
time in trying to produce a work of art without a 
controlling motive, collecting his thought, as it were, 
around a vacuum. This hub-thought must become 
the centre of all intelhgent study. The effort to 
unravel the motive of the author is the deeper stim- 
ulus of thoughtful work by both teacher and pupils. 

In other studies, like geography, history, and 
natural science, we are gradually picking out the 
important units of study, the centres of thought and 
interest, the types. This effort to escape from the 
wilderness of jumbled and fractional details into the 
sunlit region of controlling ideas, is a substantial 
sign of progress in the teacher's work. In literature 
these units have been already wrought out into per- 
fect wholes by first-class thinkers. 

In the greatest of all studies, the works of the 
literary masters, we have the surest models of inspir- 
ing thought, organized and focussed upon essential 
topics. Teachers, in some cases, are so little accus- 
tomed to lift their heads above the tall grass and 
weeds around them, that they are overtaken by sur- 
prise and bewilderment when called upon to take 
broad and liberal surveys of the topography of 
school studies. 

It is fortunate that we have, within the fenced 
boundaries of the commonly recognized school 
course, these shining specimens of organized, and, 
what we might call, intelligent thought. 



46 



SPECIAL METHOD OF CLASSICS 



We can set the children at work digging for the 
root-thoughts of those who are the masters of strong 
thinking. This digging process is not wholly out 
of place with children. Their abundant energy can 
be turned to digging if there is anything worth 
digging for. Ruskin, in Sesame and Lilies," 
says : — 

"And it is just the same with men's best wisdom. 
When you come to a good book, you must ask your- 
self : ' Am I inclined to work as an Australian miner 
would ? Are my pickaxes and shovels in good 
order, and am I in good trim myself, my sleeves well 
up to the elbow, and my breath good, and my tem- 
per ? ' And, keeping the figure a little longer, even 
at cost of tiresomeness, for it is a thoroughly useful 
one, the metal you are in search of, being the 
author's mind or meaning, his words are as the rock 
which you have to crush and smelt in order to get 
at it. And your pickaxes are your own care, wit 
and learning ; your smelting furnace is your own 
thoughtful soul. Do not hope to get at any good 
author's meaning without those tools and that fire; 
often you will need sharpest, finest chiselling, and 
patientest fusing, before you can gather one grain 
of the metal." 

It is not the dreamy, hammock-soothing, vacation 
idling with pleasant stories that we are now consider- 
ing. This happy lotus-land has also its fitting sea- 
son, in the sultry heats of summer, v/hen tired people 



THE USE OF MASTERPIECES AS WHOLES 47 

put their minds out to grass. Any study will grow 
dull and sleepy that lacks energy. 

Teachers who shrink back with anxiety lest works 
such as Irving's Sketch Book/' " Evangeline," 
''Merchant of Venice," and '' Marmion," are too 
hard for children in sixth, seventh, and eighth 
grades, should consider for a moment what classical 
preparatory schools for centuries have required of 
boys from ten to twelve years of age, the study of 
''Csesar," '' Eutropius," and ''Virgil," of "Herod- 
otus" and "Xenophon," in unknown languages ex- 
tremely difficult to master. Yet it has been claimed 
for ages, by the best scholars, that this was the true 
strength-producing discipline for boys. It would 
hardly be extravagant to say that the masterpieces 
of literature now used, in our intermediate and gram- 
mar grades, are not a quarter so difficult and four 
times as appropriate and interesting as the Latin 
and Greek authors just cited. It seems obvious that 
we are summoned to a more energetic study and 
treatment of our masterpieces. 

This struggle to get at the deeper undercurrent 
of thought in an author is the true stimulus and dis- 
cipline of such studies. 

A great author approaches his deeper thought step 
by step. He has many side-lights, variety of episode 
and preliminary. He provides for the proper scenery 
and setting for his thought. He does not bring us 
at once, point blank, upon his hero or upon the 



48 



SPECIAL METHOD OF CLASSICS 



hero's fate. There is great variety of inference and 
suggestion in the preparation and grouping of the 
artist's work. As in cHmbing some mountain peak, 
we wind through canon, along rugged hillsides and 
spurs, only now and then catching a glimpse of the 
towering object of our climb, reaching, after many a 
devious and toilsome march, the rugged backbone 
of the giant; so the poet carries us along many a 
winding road, through byways and thickets, over 
hill and plain, before he brings us into full view of 
the main object of search. But after awhile we do 
stand face to face with a real character, and are con- 
scious of the framework upon which it is built. King 
Saul has run his course and is about to reap the 
reward of his doings, to lie down in the bed which 
he has prepared. We see the author's deeper plan, 
and realize that his characters act along the line of 
the silent but invincible laws of social life and con- 
duct. These deep significant truths of human expe- 
rience do not lie upon the surface. If we are really 
to get a deep insight into human character, as por- 
trayed by the masters, we must not be in haste. We 
should be willing to follow our guide patiently and 
await results. 

A complete masterpiece, studied as a whole, reveals 
the author's power. It gives some adequate percep- 
tion of his style and compass. A play, a poem, a 
novel, a biography, is a unit. No single part can 
give a satisfactory idea of the whole. A single scene 



THE USE OF MASTERPIECES AS WHOLES 49 

from ''Crusoe" or from the ''Merchant of Venice'* 
does not give us the author's meaning. An extract 
from one of Burke's speeches supplies no adequate 
notion of his statesmanUke grasp of thought. To 
get some impression of what Daniel Webster was we 
must read a whole speech. A literary product is like 
a masterpiece of architecture. The whole must stand 
out in the due proportion of its parts to reveal the 
master's thought. 

" Walk about Zion, and go round about her : 
Tell the towers thereof. 

Mark ye well her bulwarks, consider her palaces ; 
That ye may tell it to the generations following." 

To have read through with care and thoughtful 
appreciation a single literary masterpiece and to have 
felt the full measure of a master's power, is a rare 
and lasting stroke of culture. As children move up 
through the grades they may receive the strong and 
abiding impress of the masters of style. Let it come 
to them in its undiminished strength. To feel the 
powerful tonic effect of the best stories and poems 
suited to their age will give them such an apprecia- 
tion of what is genuine and good in Hterature, that 
frivolous and trashy reading is measured at its true 
value. 

The fragments and extracts with which our higher 
readers are filled are not without power and influence 
upon culture. They have given many children their 
first taste of the beauty and strength of literature. 



SPECIAL METHOD OF CLASSICS 



But it is a great mistake to tear these gems of 
thought from their setting in literature and hfe, and 
to jam them into the close and crowded quarters of a 
text-book. Why satisfy ourselves with crumbs and 
fragments when a full rich feast may be had for the 
asking ? 

In some cases it is said that the reading of frag- 
ments of large poems or plays has excited curiosity 
and led to the reading of the larger wholes. This is 
doubtless true, but in the greater number of cases 
we are inclined to think the habit of being satisfied 
with fragments has checked the formation of any 
appreciation of literary wholes. This tendency to 
be satisfied with piecemeal performances illustrates 
painfully the shallowness and incoherency of much 
of our educational work. If teachers cannot think 
beyond a broken page of Shakespeare, why should 
children burden themselves with the labor of thought ? 
Charles Kingsley, in his essay on English literature, 
says : — 

But I must plead for whole works. ' Extracts ' 
and * Select Beauties ' are about as practical as the 
worthy in the old story, who, wishing to sell his house, 
brought one of the bricks to market as a specimen. 
It is equally unfair on the author and on the pupil; 
for it is impossible to show the merits or demerits 
of a work of art, even to explain the truth or false- 
hood of any particular passage, except by viewing 
the book as an organic whole.'* 



THE USE OF MASTERPIECES AS WHOLES 5 1 

What would the authors themselves say upon see- 
ing their work thus mutilated ? There is even a 
touch of the farcical in the effort to read naturally 
and forcibly and discuss intelligently a fragment like 
Antony's speech over Caesar. 

3. The moral effect of a complete masterpiece is 
deeper and more permanent. Not only do we see a 
person acting in more situations, revealing thus his 
motives and hidden springs of action, but the thread 
of his thought and life is unravelled in a steady 
sequence. Later acts are seen as the result of for- 
mer tendencies. The silent reign of moral law in 
human actions is discovered. Slowly but surely con- 
duct works out its own reward along the line of these 
deeper principles of action. Even in the books read 
in the early grades these profound lessons of life 
come out clear and strong. Robinson Crusoe, The- 
seus, Siegfried, Hiawatha, Beauty and the Beast, 
Jason, King Arthur, and Ulysses are not holiday 
guests. They are face to face with the serious 
problems of life. Each person is seen in the 
present make-up and tendency of his character. 
When the eventual wind-up comes, be it a col- 
lapse or an ascension, we see how surely and 
fatally such results spring from such motives and 
tendencies. Washington is found to be the first in 
the hearts of his countrymen; Arnold is execrated; 
King Lear moves on blindly to the reward which 
his own folly has prearranged; Macbeth entangles 



52 SPECIAL METHOD OF CLASSICS 

himself in a network of fatal errors ; Adam Bede 
emerges from the bitter ordeal of disappointment 
with his manly qualities subdued but stronger. Give 
the novelist or poet time and opportunity, and he is 
the true interpreter of conduct and destiny. He 
reveals in real and yet ideal characters the working 
out in life of the fundamental principles of moral 
action. 

4. A classic work is often a picture of an age, a 
panoramic survey of an historical epoch. Scott's 

Marmion" is such a graphic and dramatic portrayal 
of feudalism in Scotland. The castle with its lord, 
attendants, and household, the steep frowning walls 
and turrets, the moat, drawbridge, and dungeon, the 
chapel, halls, and f eastings, the knight clad in armor, 
on horseback with squire and troop, — these are the 
details of the first picture. The cloister and nuns, 
with their sequestered habits and dress, their devotion 
and masses, supply the other characteristic picture of 
that age, with Rome in the background. The court 
scene and ball in King James's palace, before the 
day of Flodden, the view of Scotland's army from 
the mountain side, with the motley hordes from high- 
land and lowland and neighboring isles, and lastly, 
the battle of Flodden itself, where wisdom is weighed 
and valor put to the final test, — all these are but 
the parts of a well-adjusted picture of life in feudal 
times on the Scottish border. There is incidental 
to the narrative much vivid description of Scotch 



THE USE OF MASTERPIECES AS WHOLES 53 

scenery and geography, of mountain or valley, of 
frowning castle or rocky coast, much of Scotch tra- 
dition, custom, superstition, and clannishness. The 
scenes in cloister and dungeon and on the battle- 
field are more intensely real than historical narratives 
can be. While not strict history, this is truer than 
history because it brings us closer to the spirit of 
that time. Marmion and Douglas stand out more 
clear and lifelike than the men of history. 

Although feudalism underwent constant changes 
and modifications in every country of Europe, it is 
still true that Marmion" is a type of feudal conditions, 
not only in Scotland, but in other parts of Europe, 
and a full perception of Scott's poem will make one 
at home in any part of European history during 
feudal times. As a historical picture of life, it is a 
key to the spirit and animating ideas that swayed 
the Western nations during several centuries. It is 
fiction, not history, in the usual sense, and yet it gives 
a more real and vivid consciousness of the forces at 
work in that age than history proper. 

While the plot of the story covers a narrow field, 
only a few days of time and a small area of country, 
its roots go deep into the whole social, rehgious, and 
political fabric of that time. It touches real history 
at a critical point in the relations between England 
and Scotland. It is stirred also by the spirit of the 
Scotch bard and of minstrelsy. It shows what a 
hold Rome had in those days, even in the highlands of 



54 



SPECIAL METHOD OF CLASSICS 



Scotland. It is full of Scotch scenery and geography. 
It rings with the clarion of war and of battle. It 
reveals the contempt in which letters were held 
even by the most powerful nobles. Oxen are de- 
scribed as drawing cannon upon the field of Flodden, 
and in time these guns broke down the walls of 
feudalism. As a historical picture Marmion is many- 
sided, and the roots of the story reach out through 
the whole fabric of society, showing how all the parts 
cohere. Such a piece of historical literature may 
serve as a centre around which to gather much and 
varied inform.ation through other school and home 
readings. Children may find time to read ''Ivanhoe," 
"The Crusades," "Roland," "Don Quixote," "The 
Golden Legend," Macbeth," " Goetz von Berlich- 
ingen," etc. They will have a nucleus upon which 
to gather many related facts and ideas. It should 
also be brought into proper connection with the 
regular lessons in history and geography. History 
reveals itself to the poet in these wonderfully vivid 
and lifelike types. In many of these historical poems, 
as "William Tell," "Evangeline," "Crusoe," "The 
Nibelung Song," " Miles Standish," the " Odyssey," 
"Sohrab and Rustum," some hero stands in the centre 
of the narrative, and can be understood as a repre- 
sentative figure of his times only as the whole series 
of events in his life is unrolled. 

Where the study of larger literary wholes has 
been taken up in good faith, it has brought a rich 



THE USE OF MASTERPIECES AS WHOLES 55 

blessing of intelligent enthusiasm. Even in primary 
schools, where literary wholes like Hiawatha/' 
"Robinson Crusoe," and the Golden Touch" are 
handled with a view to exploit their whole content, 
there has been a remarkable enrichment of the whole 
life of the children. Such a treatment has gone so 
deep into the problems and struggling conditions of 
life delineated, that the children have become occu- 
pied with the tent-making, boat-building, spinning, 
and various constructions incident to the develop- 
ment of the story. 

5. If it is true, as clearly expressed by strong think- 
ers in the most various fields of deeper investigation, 
that many of the chief literary products that have 
come down to us from former ages are the only 
means by which we can be brought into vital touch 
and sympathy with the spirit and motives then ruling 
among men ; if it is equally true that children will 
not grow up to the proper appreciation and interpre- 
tation of our present life, except as they have experi- 
enced, in thought and interest at least, the chief 
struggles and motives of our fathers, — we may find 
in these historic and literary materials the deep and 
living springs of true education for children. 

The thought of the educative power of this ances- 
tral literature has been forcibly expressed by many 
eminent writers. 

Scudder, in " Literature in School," says : — 

"There is the element of continuity. In the 



56 



SPECIAL METHOD OF CLASSICS 



Roman household there stood the cinerary urns which 
held the ashes of the ancestors of the family. Do 
you think the young ever forgot the unbroken line of 
descent by which they climbed to the heroic founders 
of the state? In the Jewish family the child was 
taught to think and speak of the God of Abraham, 
and of Isaac, and of Jacob. In that great succession 
he heard a voice which told him his nation was not 
of a day. It is the business of the old to transmit 
to the young the great traditions of the past of 
the country; to feed anew the undying flame of 
patriotism. 

" It is this concentration in poetry and the more 
lofty prose which gives to literary art its precious- 
ness as a symbol of human endeavor, and renders it 
the one essential and most serviceable means for 
keeping alive the smouldering coals of patriotism. 
It is the torch passed from one hand to another, sig- 
naling hope and warning ; and the one place above 
all others where its light should be kindled is where 
the young meet together, in those American temples 
which the people have built in every town and village 
in the country." 

Mabie, in Books and Culture" (pp. 88, 89-113), 
says : — 

Now, it is upon this imperishable food which the 
past has stored up through the genius of great artists 
that later generations feed and nourish themselves. 
It is through intimate contact with these fundamental 



THE USE OF MASTERPIECES AS WHOLES 5/ 

conceptions, worked out with such infinite pain and 
patience, that the individual experience is broadened 
to include the experience of the race." 

''The student of literature, therefore, finds in its 
noblest works not only the ultimate results of race 
experience and the characteristic quality of race 
genius, but the highest activity of the greatest minds 
in their happiest and most expansive moments. In 
this commingling of the best that is in the race and 
the best that is in the individual, lies the mystery of 
that double revelation which makes every work of art 
a disclosure, not only of the nature of the man 
behind it, but of all men behind him. In this com- 
mingling, too, is preserved the most precious deposit 
of what the race has been and done, and of what the 
man has seen, felt, and known. In the nature of 
things no educational material can be richer, none so 
fundamentally expansive and illuminative.'' 
Emerson, in his ''Essay on History," says: — 
" The advancing man discovers how deep a prop- 
erty he has in literature, — in all fable as well as in 
all history. He finds that the poet was no odd fellow 
who described strange and impossible situations, but 
that universal man wrote by his pen a confession true 
for one and true for all. His own secret biography 
he finds in lines wonderfully intelligible to him, dotted 
down before he was born. One after another he 
comes up in his private adventures with every fable 
of ^sop, of Homer, of Hafiz, of Ariosto, of Chaucer, 



58 



SPECIAL METHOD OF CLASSICS 



of Scott, and verifies them with his own head and 
hands. 

The beautiful fables of the Greeks, being proper 
creations of the imagination and not of the fancy, are 
universal verities. What a range of meanings and 
what perpetual pertinence has the story of Prome- 
theus ! Besides its primary value as the first chapter 
of the history of Europe (the mythology thinly veil- 
ing authentic facts, the invention of the mechanic 
arts and the migration of colonies), it gives the his- 
tory of religion with some closeness to the faith of 
later ages." 

*^Thus in all ways does the soul concentrate and 
reproduce its treasures for each pupil. He, too, shall 
pass through the whole cycle of experience. He 
shall collect into a focus the rays of nature. History 
no longer shall be a dull book. It shall walk incar- 
nate in every just and wise man. You shall not tell 
me by languages and titles a catalogue of the vol- 
umes you have read. You shall make me feel what 
periods you have lived. A man shall be the Temple 
of Fame. He shall walk, as the poets have described 
that goddess, in a robe painted all over with wonder- 
ful events and experiences ; his own form and fea- 
tures by their exalted intelligence shall be that 
variegated vest. I shall find in him the Foreworld ; 
in his childhood the Age of Gold ; the Apples of 
Knowledge ; the Argonautic Expedition ; the calling 
of Abraham ; the building of the Temple ; the Ad- 



THE USE OF MASTERPIECES AS WHOLES 59 

vent of Christ ; Dark Ages ; the Revival of Letters ; 
the Reformation ; the discovery of new lands ; the 
opening of new sciences, and new regions in man." 

6. It is not intended to limit the reading of the 
schools to the longer classics, such as Snow-Bound,'* 

The Vision of Sir Lamifal," and Webster's Bunker 
Hill speech, etc. There are also many shorter poems 
and stories, ballads, and myths, that are equally good 
and stand out as strong, complete expressions of 
thought such as Tennyson's Brook," Longfellow's 
"Village Blacksmith," Whittier's "Barefoot Boy," 
and many others. These shorter pieces should be in- 
terspersed among the longer, and freely used to give 
greater variety and zest to reading exercises. Many 
of the finest literary products of the language are 
found in these shorter poems and stories. They also 
should be studied for the beauty and unity of thought 
contained in each. 

7. But the sustained power gained from the full and 
rich study of longer classics is the best fruitage of 
the reading work. Every term of school should 
lead the children into the full appreciation of one 
or more of these masterly works. The value of 
such study is well expressed by Scudder in his 
"Literature in Schools" (pp. 54-56): — 

"The real point of practical reform, however, is 
not in the preference of American authors to Eng- 
lish, but in the careful concentration of the minds 
of boys and girls upon standard American literature, 



60 SPECIAL METHOD OF CLASSICS 

in opposition to a dissipation over a desultory and 
mechanical acquaintance with scraps from a variety 
of sources, good, bad, and indifferent. In my paper 
on ' Nursery Classics in School,' I argued that there 
is a true economy in substituting the great books 
of that portion of the world's literature which repre- 
sents the childhood of the world's mind for the thin, 
quickly forgotten, feeble imaginations of insignificant 
bookmakers. There is an equally noble economy 
in engaging the child's mind, when it is passing out 
of an immature state into one of rational, intelligent 
appropriation of literature, upon such carefully chosen 
classic work as shall invigorate and deepen it. There 
is plenty of vagrancy in reading ; the public libraries 
and cheap papers are abundantly able to satisfy the 
truant: but it ought to be recognized once for all 
that the schools are to train the mind into appre- 
ciation of literature, not to amuse it with idle diver- 
sion ; to this end, the simplest and most direct method 
is to place before boys and girls for their regular 
task in reading, not scraps from this and that author, 
duly paragraphed and numbered, but a wisely selected 
series of works by men whom their country honors, 
and who have made their country worth living in. 

" The continuous reading of a classic is in itself a 
liberal education ; the fragmentary reading of common- 
place lessons in minor morals, such as make up much 
of our reading-books, is a pitiful waste of growing 
mental powers. Even were our reading-books com- 



THE USE OF MASTERPIECES AS WHOLES 6 1 

posed of choice selections from the highest literature, 
they would still miss the very great advantage which 
follows upon the steady growth of acquaintance 
with a sustained piece of literary art. I do not 
insist, of course, that * Evangeline' should be read at 
one session of the school, though it would be exceed- 
ingly helpful in training the powers of the mind if, 
after this poem had been read day by day for a few 
weeks, it were to be taken up first in its separate 
thirds, and then in an entire reading. What I claim 
is that the boy or girl who has read ' Evangeline ' 
through steadily has acquired a certain power in 
appropriating literature which is not to be had by 
reading a collection of minor poems, — the power 
of long-sustained attention and interest." 

8. The study of literary wholes, whether longer or 
shorter, in the common school is based upon the 
notion that the full, rich thought of the author is 
the absorbing purpose of our effort. Literature is 
a reservoir of mental refinement and riches, for the 
gaining of which we can afford to sacrifice many 
things and make many even good things subordi- 
nate. The words of the wise man in recommending 
wisdom to the sons of men are not inappropriate : 
" Hear ; for I will speak of excellent things and the 
opening of my lips shall be right things, and wicked- 
ness is an abomination to my lips. Receive my 
instruction and not silver ; and knowledge rather 
than choice gold. For wisdom is better than rubies ; 



62 



SPECIAL METHOD OF CLASSICS 



and all the things that may be desired are not to be 
compared to it.'' 

To get at the wisdom of the best thinkers of the 
world, so far as it is accessible to children, is the 
straightforward aim of such study. The teachers of 
reading, if they but realized it, are the guardians 
of a temple more beautiful than the Parthenon in 
the days of Pericles, more impressive than the sacred 
towers and porticos at Jerusalem ; they are the cus- 
todians of a treasure far more rich and lasting than 
that in any palace of a king. Such comparisons, 
indeed, are almost belittling to the dignity of our 
subject. How noble and vast is the temple of 
literature ! What single mind can grasp its propor- 
tions or the boundless beauty of its decorations ? 
Moreover, it is a living temple, ever springing up 
afresh, in all its pristine strength and beauty, where- 
ever minds are found reverent, studious, and thought- 
ful. 

9. The old proverb suggests that we beware of 
the man of one book,'' and is significant of a strong 
practical truth. Our modern life demands a some- 
what broader basis of operations than one book can 
furnish. But a few of the great books, well mastered, 
give the main elements of strength. 

Mabie has a short chapter on the " Books of Life " 
which include the original, creative, first-hand books 
in all literatures, and constitute in the last analysis 
a comparatively small group, with which any student 



THE USE OF MASTERPIECES AS WHOLES 63 

can thoroughly familiarize himself. The literary 
impulse of the race has expressed itself in a great 
variety of works of varying charm and power, but 
the books which are fountain-heads of vitality, ideas, 
and beauty are few in number." 

The effect upon the teacher of the study of a few 
of the Books of Life " is deserving of emphasis. 
First, by limiting the choice to a few things, teachers 
are able, without burdening themselves, to penetrate 
into the deeper thought and meaning of standard 
works which are good specimens and criteria of all 
superior literature. Teachers are enabled thus to 
become, in a Hmited way, real students of literature. 
It has been observed, not seldom, that teachers of 
usual capacity, when turned into a single rich field 
like that of Hiawatha " or the Merchant of Venice " 
or " The Lays of Ancient Rome " or the " Lady of the 
Lake," receive an awakening which means much for 
their general culture and teaching power. The scat- 
tering of the attention over miscellaneous selections 
and fragments can hardly produce this awakening. 

Certain difficulties are incident to the reading of 
longer works as wholes which it is well to recognize. 

I. There is no such nice grading of verbal and 
language difficulties as has been wrought out in 
some of the standard readers. On this point 
Scudder says (p. 41 of Literature in Schools"): — 
The drawback to the use of these nursery clas- 
sics in the schoolroom undoubtedly has been in the 



64 



SPECIAL METHOD OF CLASSICS 



absence of versions which are inteUigible to children 
of the proper age, reading by themselves. The 
makers of the graded reading-books have expended 
all their ingenuity in grading the ascent. They have 
been so concerned about the gradual enlargement of 
their vocabularies that they have paid slight atten- 
tion to the ideas which the words were intended to 
convey. But just this gradation may be secured 
through the use of these stories, and it only needs 
that they should be written out in a form as simple, 
especially as regards the order of words, as that 
which obtains in the reading-books of equivalent 
grade." 

But in the longer classics for more advanced 
grades there can be no such adaptation, and the 
author's form should be retained. The authors of 
^^Rip Van Winkle" or Snow-Bound " or Hora- 
tius at the Bridge " were not trying to phrase their 
thought to meet the needs of children, but wrote as 
the spirit moved them. The greater vigor and inten- 
sity of the author's style will make up, however, in 
large part, for this defect in easy grading. Children 
are not so much afraid of big or new words, if there 
is attractiveness and power of thought. The larger 
richness and variety of language in a fruitful author 
is a positive advantage as compared with the leanness 
and dulness of many a smoothly graded reading lesson. 

2. It is claimed that there is, in some masterpieces, 
like Evangeline " or one of Webster's speeches, a 



THE USE OF MASTERPIECES AS WHOLES 6$ 

monotony and tiresome sameness which grows bur- 
densome to pupils ere the conclusion is reached. At 
least there is much less variety in style and thought 
than in an equal number of pages in the usual reader. 

In some cases there is good ground for this criti- 
cism. It may be a defect in the writer's style, or in 
not finding a suitable selection for the class. In 
some cases it is due to lack of power in the teacher 
to bring the children properly into close contact with 
the author's thought. 

But dulness and apathy are often found in reading 
short selections as well as in longer ones. Generally 
speaking, longer pieces are apt to kindle a deeper 
and stronger interest. Many of the longer selections 
have also great variety of rhetorical style. Dickens's 
''Christmas Carol" is employed in one of the drill 
books in reading to illustrate all phases of voice and 
tone. 

3. It is not an unusual experience to find that a 
longer story or poem seems too hard for a class, and 
it may be impossible to interest them because of 
verbal or thought difficulties. But the teacher should 
not give up the struggle at once. Often, in a new 
author, difficulties that seem at first insurmountable 
give way before vigorous effort, and a lively interest 
is awakened. This has been noticed in Macaulay's 
'' Lays of Ancient Rome," in Irving's " Rip Van 
Winkle," in Scott's ''Lady of the Lake," also in 
Webster's "Speech in reply to Hayne." The teacher 

F 



66 



SPECIAL METHOD OF CLASSICS 



should not depend wholly upon the author's making 
himself intelligible and interesting to the children. 
His own enthusiasm, clear grasp of thought, suggest- 
ive assignment of lesson, and skill in comment and 
question should awaken insight and attention. It is 
advisable at times to pass by specially difficult pas- 
sages, or leave them for later special study. 

4. In some schools it is not possible to secure 
books containing the complete classics. But even 
the regular readers often contain complete poems 
and stories, and several of the large companies are 
publishing many of the complete masterpieces in 
good print and binding, no more expensive than 
the regular readers. 

5. The greatest difficulty, after all, is the lack of 
experience of many teachers with the longer classics. 
In many cases their inability to select what would 
suit their classes is a hindrance. But the experience 
of many teachers with these materials is rapidly set- 
tling the question as to the place and importance of 
the leading masterpieces as well as of many shorter 
selections. 



CHAPTER III 



LITERARY MATERIALS FOR THE FIVE UPPER GRADES 

There is great abundance and variety of choice 
reading matter suitable for the grades from the fourth 
to the eighth inclusive. The best sets of reading- 
books have drawn from this rich material, but no 
series of readers can compass adequately the field. 
Some of the longer classical stories and poems have 
been incorporated into readers, but a single set of 
readers cannot be made large enough to contain a 
quarter of the valuable reading matter which should be 
f urnishedin these grades. The large publishing houses 
now supply, at moderate expense, in small and con- 
venient book form, a great variety of the very best 
complete masterpieces. In order to show miore clearly 
the richness and variety of this material, we will dis- 
cuss briefly the principal kinds of reading matter which 
are distributed through these five grades. We assume 
that during the first three years of school life chil- 
dren have learned how to read, having mastered the 
forms and symbols of printed language. At the 
beginning of the fourth grade, therefore, they are 
prepared to read some of those choice literary prod- 
ucts which constitute a part of the permanent lit- 

67 



68 



SPECIAL METHOD OF CLASSICS 



erature of the world. After having collected and 
arranged these products, we find that they fall into 
several distinctly marked classes. 
I. The Myths. 

These include such stories as Hawthorne's "Won- 
der Book " and Tanglewood Tales," Peabody's " Old 
Greek Folk Stories," Kingsley's " Greek Heroes," 
'*The Story of Ulysses," Bryant's translation of 
the " Iliad " and " Odyssey," Pope's Homer," and 
many other prose and poetic renderings of the Greek 
myths. 

Another group of myths include Mabie's "Norse 
Stories," " Heroes of Asgard, " Siegfried," " Myths 
of Northern Lands," Skinner's " Readings in Folk 
Lore," and. many forms of the Norse myths. The 
story of " Hiawatha " belongs also to this group, 
while some of the earlier English and Roman myths 
belong to the same class. 

The choicest of these mythical stories are dis- 
tributed as reading matter through the fourth and 
fifth grades. They constitute a large share of the 
most famous literature of the great civilized nations. 
It is worth while to name over the virtues of these 
stories and poems. 

They have sprung directly out of the people's 
life, they are race products, worked over from age 
to age by poetic spirits, and finally gathered into 
enduring form by a Homer, Virgil, or Spenser. 
The best of our later poets and prose masters have 



LITERARY MATERIALS 



69 



employed their finest skill in rendering them into 
simple and poetic English, as Bryant, Kingsley, 
Longfellow, Pope, Hawthorne, Palmer, Tennyson, 
Church, and many more. 

They are the best descriptions we have of the 
customs, ideas, and dress, the homes, habits, and mo- 
tives, of the ancestral races. Many other sources, 
as temples, ruins, tombs, coins, etc., help to explain 
this early history ; but this literature calls it again 
into life and puts meaning into all other sources of 
knowledge. 

The influence which this early literature has had 
upon later historical growth of the great races is 
overwhelming, and is plain to the eyes of even un- 
scholarly persons. The root from which the marvel- 
lous tree of Greek civilization grew is seen in Homer's 
poems. 

In these myths we find those commanding char- 
acters which typify the strength and virtues of the 
race, as Achilles, Ulysses, Siegfried, Penelope, Thor, 
Apollo, Theseus, Hiawatha, Orpheus, Diana, Vulcan, 
Prometheus, and the Muses. 

A close acquaintance with these creative ideas of 
the early world is necessary to an understanding 
of all subsequent life and literature. And it is not 
merely the names of Greek divinities and definitions 
of their character and qualities which put meaning 
into the numberless allusions of modern writers. One 
reason why many modern thinkers smile at the trite- 



70 



SPECIAL METHOD OF CLASSICS 



ness and childishness of Greek fable is, that they 
have not caught the spirit and meaning of the Greek 
story. The great masters of thought, like Goethe, 
Shakespeare, Emerson, Tennyson, and Bryant, have 
seen deeper. 

It is, moreover, in childhood, during the early school 
years especially, that we may best appreciate and 
enjoy these poetic creations of an early world. It is 
hardly to be expected that people whose youth has 
been clamped into the mould of commonplace and 
sensuous facts, and whose later years have been 
crusted over with modern materialism and commer- 
ciahsm, should listen with any patience to Orpheus 
and the Muses, or even to the wood notes of Pan. 

We hardly need to dwell upon the idea that the 
old heroic myths are the delight of boys and girls, 
and that this sympathy for the myth is the founda- 
tion of its educative power. Nor is it the purpose of 
the school to warp the minds of children into this one 
channel of growth. The historical and scientific 
studies run parallel with the myth, and give strength 
for realities. 

It is not difficult to see that music, the drama, and 
the fine arts spring from these old myths as from 
their chief source. They furnish motive to many of 
the greatest works of dramatist, composer, painter, 
and sculptor, in all the ages since, ^schylus and 
the Greek dramatists, Goethe and Wagner, Fenelon 
and Shakespeare, drew abundantly from these sources. 



LITERARY MATERIALS 



71 



A few of the striking characters of this great age 
of heroic myths should be treated with such fulness 
as to stand out clearly to the children and appeal to 
the heart as well as to the head. Ulysses and Sieg- 
fried stand in the centre of two of the chief stories, 
and exemplify great qualities of character, strength, 
wisdom, and nobleness of mind. 

^vln the third grade the children have had an oral 
introduction to some of the old stories, and have had 
a spirited entrance to Mythland. This oral treat- 
ment of the stories is a fitting and necessary prelude 
to the reading work of the fourth and fifth grades. 
It is more fully discussed, together with the art of 
the story-teller, in *^The Special Method in Primary 
Reading and Story.'' 

Closely related to the myths, and kindred in spirit, 
are such choice reading materials as The Arabian 
Nights," ^^King of the Golden River,'' Stockton's 
Fanciful Tales," *'The Pied Piper," and a number 
of shorter poems and stories found in the collections 
recommended for fourth and fifth grades. Some of 
Hawthorne's and Irving's stories belong also to this 
group. 

2. Ballads and Traditional Stories. 

A somewhat distinct group of the best reading for 
fourth and fifth grades is found in the historical 
ballads and national legends from the early history 
of England, Germany, Italy, and France. They in- 
clude such selections as "Sir Patrick Spens," '*The 



i 



72 



SPECIAL METHOD OF CLASSICS 



Ballads of Robin Hood,'^ ^^Horatius/' ^^Bannock- 
burn/' "The Heart of the Bruce,'' '^The Story of 
Regulus," of " Cincinnatus," "Alfred the Harper," 
and many more. In the list of books recommended 
for children's reading are several ballad books, 
Macaulay's " Lays of Ancient Rome," "The Book of 
Golden Deeds," "Tales from English History," and 
several others, with great variety of poem and story. 
Many of these selections are short and spirited and 
well suited to awaken the strongest enthusiasm of 
children. They are sometimes in dialogue form, 
both in prose and verse, have strong dramatic 
action, and are thus helpful in variety and force of 
expression. There is also much early history and 
national spirit involved. The old historical ballads 
and traditions have great educative value. They are 
simple, crude, and powerful, and awaken the spirit to 
receive the message of heroism. In her introduction 
to the "Ballad Book," Katharine Lee Bates says, 
" For these primitive folk-songs, which have done 
so much to educate the poetic sense in the fine 
peasantry of Scotland — that peasantry which has 
produced an Ayreshire Ploughman and an Ettric 
Shepherd — are assuredly, 

" ^ Thanks to the human heart by which it lives,' 

among the best educators that can be brought into 
our schoolrooms." 

" The Lays of Ancient Rome," the " Ballads," and 



LITERARY MATERIALS 



73 



the Tales from English History belong to the 
heroic series. Though far separated in time and 
place, they breathe the same spirit of personal energy, 
self-sacrifice, and love of country. They reveal 
manly resistance to cruelty and tyranny. We may 
begin this series with a term's work upon Macaulay's 
Lays " and a few other choice stories in prose and 
verse. Thereafter we may insert other ballads, 
where needed, in connection with history, and in 
amplification of longer stories or masterpieces like 
Scott's "Tales of a Grandfather," and Marmion." 
In the fifth grade, children are of an age when these 
stories of heroism in olden days strike a responsive 
chord. They delight in such tales, memorize them, 
and enter into the full energy of their spirited re- 
production. The main purpose at first is to appre- 
ciate their thought as an expression of history, 
tradition, and national life. A complete and absorb- 
ing study of a single series of these ballads, as of 
Macaulay's, supplies also an excellent standard of 
comparison for other more or less similar episodes 
in the history of Switzerland, Greece, England, and 
America. 

These historical legends merge almost imper- 
ceptibly into the historical tales of early English, 
Roman, and French or German history. The patri- 
archal stories of the Old Testament furnish the 
finest of early history stories and should be included 
in these materials. **The Old Stories of the East," 



74 



SPECIAL METHOD OF CLASSICS 



and Old Testament Stories in Scripture Language 
are among the best. 

3. Stories of Chivalry. 

Tales of chivalry, beginning with " Arthur and his 
Round Table Knights/' ''Roland and Oliver/' and 
other mediaeval tales, have a great attraction for poets 
and children. Such books are included in our lists as 
The Court of King Arthur," the Story of Roland," 
"Tales of Chivalry," ''The Boys' King Arthur," the 
" Age of Chivalry," and " The Coming of Arthur " and 
"Passing of Arthur." There are also many shorter 
poems touching this spirit of chivalry in the Ballad 
literature. The character and spirit of King Arthur 
as revealed in the matchless music of Tennyson 
should find its way to the hearts of children before 
they leave the school. Like Sir Galahad, he could 
say, 

"My strength is as the strength of ten 
Because my heart is pure." 

4. Historical Stories and Poems. 

In the fifth and sixth grades children should begin 
to read some of the best biographical and historical 
stories of America and of European countries. Of 
these we have excellent materials from many lands 
and periods of time, such as Higginson's " American 
Explorers," Morris's " Historical Tales " (both Ameri- 
can and English), " Stories of American Life and 
Adventure," " Stories of Our Country," " Pioneer His- 
tory Stories," "Ten Boys on the Road from Long 



LITERARY MATERIALS 



75 



Ago/' "The Story of the English," "Stories from 
Herodotus," " Pilgrims and Puritans," Hawthorne's 
"Biographical Stories," "Stories from American 
Life," and others. 

In the oral history lessons given on alternate days 
in fourth grade (see special method in history) we 
have made a spirited entrance to American history 
through the pioneer stories of the Mississippi Valley. 
These should precede and pave the way for classic 
readings in American history. In the fifth grade, 
the stories of Columbus and of the chief navigators, 
also the narratives of the Atlantic coast pioneers, are 
told. The regular history work of the sixth grade 
should be a study of the growth of the leading 
colonies during the colonial period and the French 
and Indian Wars. 

In the fifth grade we may begin to read some of 
the hero narratives of our own pioneer epoch as 
rendered by the best writers ; for instance, Higgin- 
son's " American Explorers," " Pilgrims and Puri- 
tans," " Stories of Our Country," and " Grandfather's 
Chair." They are lifelike and spirited, and intro- 
duce us to the realism, of our early history in its 
rugged exposure and trials, while they bring out those 
stern but high ideals of life which the Puritan and 
the Cavalier, the navigator, the pioneer hunter, and 
explorer illustrate. Higginson's collection of letters 
and reports of the early explorers, with their quaint 
language and eye-witness descriptions, is strikingly 



76 



SPECIAL METHOD OF CLASSICS 



vivid in its portraiture of early scenes upon our 
shores. Hawthorne, in " Grandfather's Chair/' has 
moulded the hardy biography of New England leaders 
into literary form. 

5. Great Biographies. 

In addition to the shorter biographical stories just 
mentioned, as children advance into the sixth, seventh, 
and eighth grades, they should make a close acquain- 
tance with a few of the great biographies. There is 
an abundance of excellent American biographies, but 
we should limit ourselves to those most important 
and best suited to influence the character of young 
people. It is necessary also to use those which have 
been written in a style easily comprehended by the 
children. Some of the best are as follows : Scudder's 

Life of Washington," Franklin's "Autobiography," 
Hosmer's " Life of Samuel Adams," and the lives 
of John Quincy Adams, Daniel Webster, and Lin- 
coln in the " Statesman Series." There are two 
fairly good books of Lincoln's early life for children. 
There are also many shorter biographies included 
in the books recommended for regular or collateral 
reading. 

In style and content the story of Franklin is 
one of the best for children. The Autobiog- 
raphy " of Franklin has many graphic touches 
from American life. His intense practical per- 
sonality, his many-sidedness and public spirit, make 
up a character that will long instruct and open 



LITERARY MATERIALS 



77 



out in many directions the minds of the young. 
His clear sense and wisdom in small affairs as in 
great, and the pleasing style of his narrative, are 
sufficiently characteristic to have a strong personal 
impression. It will hardly be necessary to take the 
whole of the " Autobiography,'' but the more attrac- 
tive parts, leaving the rest to the private reading of 
children. Poor Richard's Almanac " intensifies the 
notion of Franklin's practical and everyday wisdom, 
and at the same time introduces the children to a 
form of literature that, in colonial days, under 
Franklin's patronage, had a wide acceptance and 
lasting influence in America. 

Plutarch's Lives " furnish a series of great bi- 
ographies which grammar school children should 
become well acquainted with. The lives of Ameri- 
can writers and poets should be brought to^he atten- 
tion of children in conjunction with their productions. 
**The Children's Stories of American Literature" 
and the introductory chapters of many of the master- 
pieces furnish this interesting and stimulating 
material. It should not be neglected by pupils and 
teachers. For older pupils and for teachers several 
of Macaulay's ''Essays" are valuable, and the style 
is strikingly interesting. For example, the essays on 
Samuel Johnson, Lord Chatham, Milton, Addison, 
and Frederick the Great. Motley's " Essay on Peter 
the Great" and Carlyle's ''Essay on Burns" are of 
similar interest and value. "The Schonberg Cotta 



78 



SPECIAL METHOD OF CLASSICS 



Family** is valuable in the upper grammar grades. 
Most of this kind of reading must be outside refer- 
ence work if it is done at all. Teachers should, first 
of all, enrich their own experience by these read- 
ings, occasionally bring a book to the class from 
which selections may be read, and, secondly, encour- 
age the more enthusiastic and capable children to 
this wider field of reading. 

6. Historical Poems and Pictures of American 
Life. 

Some of the best American poems and prose 
masterpieces are fine descriptions of American life 
and manners, in different parts of the country and 
at various times. Such are : Courtship of Miles 
Standish,** Tales of the White Hills," '*Snow- 
Bound," "Rip Van Winkle," and "Sleepy Hollow." 
"The Gentle Boy," "Mabel Martin," "Giles Corey," 
"Evangeline," "Uncle Tom's Cabin," and some of 
the great biographies, like those of Samuel Adams, 
Franklin, Washington, and Lincoln, are also fine 
descriptions of home life in America. The same 
may be said of some of the masterpieces of English 
and European literature, for example, " Ivanhoe," 
"Roger de Coverley," "The Christmas Carol," 
"Vicar of Wakefield," "William Tell," "Silas Mar- 
ner," "The Cotter's Saturday Night," and " Schon- 
berg Cotta Family." 

The culture value of these pictures of home and 
domestic life for young people is surpassingly great. 



LITERARY MATERIALS 



79 



Gradually their views are broadened, and they may 
be imbued with those social, home-bred qualities and 
virtues so fundamental in human life. 

Irving's stories and Longfellow's Miles Stan- 
dish " give a still more pronounced and pleasing 
literary cast to two of the characteristic forms of 
life in our colonial history, the Puritan and the 
Dutch Patroon. If the children have reached this 
point, where they can read and enjoy the **Sketch- 
Book,'* it will be worth much as a description of life 
along the Hudson, and will develop taste and appre- 
ciation for literary excellence. Even the fanciful 
and ridiculous elements conduce to mental health 
and soundness, by showing up in pleasing satire the 
weaknesses and foibles of well-meaning people. 

"Snow-Bound,'' ''Songs of Labor," and "Among 
the Hills," while not historical in the usual sense, 
are still plainly American, and may well be asso- 
ciated with other poetic delineations of American 
life. " Snow-Bound " is a picture of New England 
life, with its pleasing and deep-rooted memories. Its 
family spirit and idealization of common objects and 
joys make it a classic which reaches the hearts of 
boys and girls. "Among the Hills" is also a pic- 
ture of home life in New England mountains, a con- 
trast of the mean and low in home environment to 
the beauty of thrift and taste and unselfish home 
joys. The "Songs of Labor" are descriptive of the 
toils and spirit of our varied employments in New 



80 SPECIAL METHOD OF CLASSICS 

England and of that larger New England which the 
migrating Yankees have established between the 
oceans. 

" Evangeline is another literary pearl that en- 
shrines in sad and mournful measures a story of 
colonial days, and teaches several great lessons, as 
of the harshness and injustice of war, of fair-minded- 
ness and sympathy for those of alien speech and 
country, of patience and gentleness and loyalty to 
high ideals in a character familiar and sacred to all. 

7. The Poetry of Nature in the Masterpieces of 
Literature. 

Both in poetic and in prose form there is great 
variety and depth of nature worship in good litera- 
ture. There are few, if any, of the great poets who 
have not been enthusiastic and sympathetic observers 
of nature, — nature lovers, we may call them. We 
can hardly mention the names of Emerson, Bryant, 
and Wordsworth, without thinking of their loving 
companionship with nature, their flight to the woods 
and fields. But the same is true of Lowell, Whittier, 
Hawthorne, Whitman, and all the rest. When we 
add to these, those companions of nature, such as 
Thoreau, Leander Keyser, Olive Thorn Miller, Bur- 
roughs, Warner, and others of like spirit, we may 
be surprised at the number of our leading writers 
who have found their chief delight in dwelling close 
to the heart of nature. 

An examination of the books recommended for 



LITERARY MATERIALS 



8i 



children's study and delight will reveal a large num- 
ber of the most graceful, inspiriting products of 
human thought, which are nature poems, nature 
hymns, odes to skylark, the dandelion, the mountain 
daisy, communings with the myriad moods and 
forms of the natural world. Such books as Nature 
Pictures by American Poets," " Golden Treasury of 
Songs and Lyrics,'' Poetry of the Seasons," the 
" Open Sesame" books, and others, show an infinite 
variety of poetic inspiration from nature. Adding 
to these Burroughs's Birds and Bees," " Wake 
Robin," Squirrels and other Fur-bearers " ; Tho- 
reau's Succession of Forest Trees " ; Higginson's 
" Outdoor Papers " ; Keyser's News from the 
Birds," In Bird Land," and Birddom " ; Torrey's 
Footpath Way," and Birds in the Bush"; Long's 
Wilderness Ways," and "Ways of Wood Folk"; 
the " Plant World " of Vincent, the " Natural His- 
tory" of Selborne, and others of like quality, — and 
we have an abundance of the most friendly and en- 
ticing invitations to nature study. These materials 
are suited, by proper arrangement, to all the grades 
from the fourth up. Under good teachers such 
books can do no other than awaken and encourage 
the happiest kind of observation and sympathy for 
nature. It is the kind of appreciation of birds and 
trees, insects and clouds, which at once trains to 
close and discriminating perception, and to the culti- 
vation of aesthetic sense in color, form, and sound. 

G 



82 



SPECIAL METHOD OF CLASSICS 



The love of nature cannot be better instilled than 
by following these poets. 

While the study of literature as it images nature 
cannot take the place of pure science, it is the most 
powerful ally that the scientist can call in. The 
poets can do as much to idealize science study, to 
wake the dull eye, and quicken the languid interest 
in nature, as scientists themselves. Away, then, 
with this presumed antagonism between literature 
and science ! Neither is complete without the other. 
Neither can stand on its own feet. But together, in 
mutual support, they cannot be tripped up. The 
facts, the laws, the utilities, adaptations, and wonders 
in nature are not so marvellous but the poet's eye 
will pierce beneath and above them, will give them 
a deeper interpretation, and clothe them in a gar- 
ment of beauty and praise. There is nothing beau- 
tiful or grand or praiseworthy that the poet's eye 
will not detect it, and the poet's art reveal it in 
living and lasting forms. Let the scientist delve 
and the poet sing. The messages between them 
should be only those of cheer. 

It is in this myriad-voiced world of fields and 
brooks, of mountain, lake, and river, of storm and 
cloud and of the changing seasons, that poets find 
the images, suggestions, and analogies which inter- 
pret and illustrate the spiritual life of man. The 
more rigid study of science in laboratory and class- 
room is necessary to the student, but it would be a 



LITERARY MATERIALS 



83 



narrow and pedantic teacher who would not welcome 
the poetic temper and enthusiasm in nature study. 

The teachers of reading have, therefore, the best 
of all opportunities for cultivating this many-sided 
sympathy for and insight into nature, and at the 
same time to train the children to correlate these 
nature poems with their science studies. Observers 
like Thoreau and Burroughs give us the greatest 
inducement for getting out into the woods. They 
open our eyes to the beauties and our hearts to the 
truth of nature's teachings. These are the gardens 
of delight where science and poetry walk hand in 
hand and speak face to face. It would not be diffi- 
cult to show that many of the greatest scientists 
were poets, and that some of the chiefest poets have 
been foremost in scientific study. 

8. The Sentiment of Patriotism in Literature. 

The powerful national spirit finds expression in 
many forms of literature, in hymns, in war song, in 
oration, in essay, in pioneer narrative, in stories of bat- 
tle, in novel, in flag song, in ballad, and in biography. 

We have already noted the great significance of 
American history stories in fourth and fifth grades. 
It is from the early pioneer epoch and the colonial 
history that we derive much of our best educative 
history. The heroism of these old days has been 
commemorated in story and poem by our best writers. 

As we approach the Revolutionary crisis a new body 
of choice literary products, aglow with the fire of patri- 



84 



SPECIAL METHOD OF CLASSICS 



otism and independence, is found stored up for the joy 
and stimulus of our growing young Americans : Paul 
Revere's Ride," Grandmother's Story of Bunker 
Hill,'' Washington's letters, A Ballad of the Boston 
Tea Party," Ode for Washington's Birthday," Lex- 
ington" (Holmes), "The Song of Marion's Men," 
" The Green Mountain Boys," Webster's speeches 
at Bunker Hill and on Adams and Jefferson, Old 
Ticonderoga " (Hawthorne), Burke's speech on the 
American War, Washington's Farewell to the 
Army," The Declaration of Independence, Under 
the Old Elm," and descriptions of some of the great 
scenes of the war by our best historians. 

It is to be desired that children in the seventh 
grade may have opportunity in regular history lessons 
to study in detail a few of the central topics of the 
Revolutionary epoch. This will put them in touch 
with the spirit and surroundings of the Americans. 

In the reading lessons of the same grade we may 
well afford to discover and feel what our best patriots 
and men of letters have said and felt in view of the 
struggle for freedom. The noblest expressions of 
sentiment upon great men and their achievements 
are contagious with the young. Patriotism can find 
no better soil in which to strike its deepest roots than 
the noble outbursts of our orators and poets and 
patriotic statesmen. The cumulative effect of these 
varied but kindred materials is greater than when 
scattered and disconnected. They mutually support 



LITERARY MATERIALS 



85 



each other, and when they are brought into close 
dependence upon parallel historical studies, we may 
well say that the children are drinking from the deep 
and pure sources of true Americanism. 

Parallel to whatever history we attempt to teach in 
the eighth grade should run a selection of the best 
literary products that our American authors can 
furnish, and here again we are rich in resources. 
The thought and hfe of our people find their high- 
water mark in the poet's clarion note and the states- 
man's impassioned appeal. No others have perceived 
the destiny of our young republic as our cherished 
poets, Longfellow, Whittier, Bryant, Holmes, and 
Emerson. They have stood upon the mountain tops, 
looking far and wide through the clear atmosphere, 
while the great army of the people has been tenting 
in the valleys below. These wakeful priests and 
prophets have caught the bright tints of the morning 
while the people were still asleep, and have witnessed 
the suffused glory of the sunset clouds when the 
weary masses below had already forgotten the day's 
toil. One thing at least, and that the greatest, can be 
done for our children before they finish the common 
school course. They may rise into this pure atmos- 
phere of poet, patriot, sage, and prophet. They may 
hear these deathless strains and feel the thrill of these 
clarion notes. Let their ears be once attuned to the 
strength and harmony of this music, and it will not 
cease to echo in their deeper life. The future 



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SPECIAL METHOD OF CLASSICS 



patriots will be at hand, and the coming years will see 
them rising to the great duties that inevitably await 
them. We have a body of noble, patriotic material 
which is capable of producing this effect if handled 
by skilful teachers: the Ordinance of 1787, The 
Federalist, Numbers i and 2, Washington's " In- 
augurals " and the Farewell Address,'' Everett's 
"Oration on Washington," "O Mother of Mighty 
Race" (Bryant); "Our Country's Call" (Bryant); 
"Abraham Lincoln" (Bryant); Lincoln's "Inaugu- 
rals " and "Gettysburg Speech," " Army Hymn " and 
" The Flower of Liberty " (Holmes), Webster's " Sec- 
ond Speech on Foot's Resolution," The Emancipation 
Proclamation, "The Fortune of the Republic" 
(Emerson), etc., " Antiquity of Freedom " (Bryant) ; 
"Centennial Hymn" (Whittier); "The Building of 
the Ship " (Longfellow) ; " The Poor Voter on Elec- 
tion Day " (Whittier). 

Why not gather together these sources of power, 
of unselfish patriotism, of self-sacrifice, of noble and 
inspiring impulse ? Let this fruit-bringing seed be 
sown deep in the minds and hearts of the receptive 
young. What has inspired the best of men to high 
thinking and living can touch them. 

It is not by reading and declaiming a few miscel- 
laneous fragments of patriotic gush, not by waving 
flags^and banners and following processions, that the 
deeper sentiments of patriotism and humanity are to 
be touched, but by gathering and concentrating these 



LITERARY MATERIALS 



87 



fuller, richer sources of spiritual power and conscious 
national destiny. The schoolroom is by far the best 
place to consolidate these purifying and conserving 
sentiments. By gathering into a rising series and 
focussing in the higher grades the various forms, in 
prose and verse, in which the genius of our country 
has found its strongest expression ; by associating 
these ringing sentiments with the epochs and crises 
of our history, with the valorous deeds of patriots 
upon the field and of statesmen in the senate, with 
the life and longings of home-nurtured poets and 
sages, — we shall plant seed whose fruitage will not 
disappoint the lovers of the fatherland. 

Mr. Horace E. Scudder, in his two essays on 
Literature and American Classics in the Common 
School," has portrayed with convincing clearness the 
spiritual power and high-toned Americanism which 
breathe from those literary monuments which have 
been quarried from our own hillsides and chiselled by 
American hands. We recommend to every teacher 
the reading in full of these essays, from which we 
quote at much length : — 

Fifty years ago there were living in America six 
men of mark, of whom the youngest was then nine- 
teen years of age, the oldest forty-four. Three of 
the six are in their graves and three still breathe the 
kindly air. [Since this was written, in 1888, the last 
of the six has passed away.] One only of the six 
has held high place in the national councils, and it is 



88 



SPECIAL METHOD OF CLASSICS 



not by that distinction that he is known and loved. 
They have not been in battle ; they have had no 
armies at their command; they have not amassed 
great fortunes, nor have great industries waited on 
their movements. Those pageants of circumstances 
which kindle the imagination have been remote from 
their names. They were born on American soil ; 
they have breathed American air ; they were nurtured 
on American ideas. They are Americans of Ameri- 
cans. They are as truly the issue of our national 
life as are the common schools in which we glory. 
During the fifty years in which our common school 
system has been growing up to maturity these six 
have lived and sung ; and I dare say that the lives 
and songs of Bryant, Emerson, Longfellow, Whittier, 
Holmes, and Lowell have an imperishable value, 
regarded as exponents of national life, not for a 
moment to be outweighed in the balance by the most 
elaborate system of common schools which the wit of 
man may devise. The nation may command armies 
and schools to rise from the soil, but it cannot call 
into life a poet. Yet when the poet comes and we 
hear his voice in the upper air, then we know the 
nation he owns is worthy of the name. Do men 
gather grapes of thorns or figs of thistles ? Even so, 
pure poetry springs from no rank soil of national 
life. 

" I am not arguing for the critical study of our 
great authors, in the higher grades of our schools. 



LITERARY MATERIALS 



89 



They are not the best subjects for critical scholar- 
ship ; criticism demands greater remoteness, greater 
foreignness of nature. Moreover, critical study is 
not the surest method of securing the full measure 
of spiritual hght, though it yields abundant gain in 
the refinement of the intellectual nature and in the 
quickening of the perceptive faculties. I am arguing 
for the free, generous use of these authors in the 
principal years of school life. It is then that their 
power is most profoundly needed, and will be most 
strongly felt. We need to put our children in their 
impressionable years into instant and close connec- 
tion with the highest manifestation of our national 
life. Away with the bottle* and the tube ! Give 
them a lusty draft at the mother's full breast ! 

"Nor do I fear that such a course will breed a 
narrow and parochial Americanism. On the con- 
trary, it would destroy a vulgar pride in country, 
help the young to see humanity from the heights 
on which the masters of song have dwelt, and open 
the mind to the more hospitable entertainment of 
the best literature of every clime and age. I am 
convinced that there is no surer way to introduce 
the best English literature into our schools than to 
give the place of honor to American literature. In 
the order of nature a youth must be a citizen of his 
own country before he can become naturalized in the 
world. We recognize this in our geography and his- 
tory ; we may wisely recognize it also in our reading. 



go SPECIAL METHOD OF CLASSICS 

"The place, then, of Hterature in our common 
school education is in spiritualizing life, letting light 
into the mind, inspiring and feeding the higher forces 
of human nature. 

" It is the business of the old to transmit to the 
young the great traditions of the past of the country, 
to feed anew the undying flame of patriotism. There 
is the element of destiny. No nation lives upon its 
past ; it is already dead when it says, * Let us eat and 
drink to-day; for to-morrow we die.' But what that 
destiny is to be may be read in the ideals which the 
young are forming; and those ideals, again, it is 
the business of the old to guide. They cannot form 
them ; the young must form them for themselves ; 
but whether these ideals shall be large or petty, 
honorable or mean, will depend upon the sustenance 
on which they are fed. 

Now in a democracy, more signally than under 
any other form of national organization, it is vitally nec- 
essary that there should be an unceasing, unimpeded 
circulation of the spiritual life of the people. The 
sacrifice of the men and women who have made 
and preserved America, from the days of Virginia 
and New England to this hour, has been ascending 
from the earth in a never-ending cloud ; they have 
fallen again in strains of music, in sculpture, in 
painting, in memorial hall, in tale, in oration, in 
poem, in consecration of life ; and the spirit which 
ascended is the same as that which descended. In 



LITERARY MATERIALS 



91 



literature above all is this spirit enshrined. You 
have but to throw open the shrine, and the spirit 
comes with its outspread blessings upon millions of 
waiting souls. Entering them, it reissues in count- 
less shapes, and thus is the life of the nation in its 
highest form kept ever in motion, and without motion 
is no life. 

" The deposit of nationality is in laws, institutions, 
art, character, and religion ; but laws, institutions, 
character, and religion are expressed through art 
and mainly through the art of letters. It is litera- 
ture, therefore, that holds in precipitation the genius 
of the country ; and the higher the form of literature, 
the more consummate the expression of that spirit 
which does not so much seek a materialization as 
it shapes itself inevitably in fitting form. Long may 
we read and ponder the life of Washington, yet at 
last fall back content upon those graphic lines of 
Lowell in * Under the Old Elm,' which cause the 
figure of the great American to outline itself upon 
the imagination with large and strong portraiture. 
The spirit of the orations of Webster and Benton, 
the whole history of the young giant poised in con- 
scious strength before his triumphant struggle, one 
may catch in a breath in those glowing lines which end 
* The Building of the Ship.' The deep passion of the 
war for the Union may be overlooked in some formal 
study of battles and campaigns, but rises pure, strong, 
and flaming in the immortal ' Gettysburg Speech.' 



92 



SPECIAL METHOD OF CLASSICS 



" Precisely thus the sentiment of patriotism must 
be kept fresh and living in the hearts of the young 
through quick and immediate contact with the 
sources of that sentiment; and the most helpful 
means are those spiritual deposits of patriotism 
which we find in noble poetry and lofty prose, as 
communicated by men who have lived patriotic lives 
and been fed with coals from the altar. 

" It is from the men and women bred on American 
soil that the fittest words come for the spiritual en- 
richment of American youth. I believe heartily in 
the advantage of enlarging one's horizon by taking 
in other climes and other ages, but first let us make 
sure of that great expansive power which lies close 
at hand. I am sure there never was a time or coun- 
try where national education, under the guidance 
of national art and thought, was so possible as in 
America to-day. 

" The body of wholesome, strong American litera- 
ture is large enough to make it possible to keep boys 
and girls upon it from the time when they begin to 
recognize the element of authorship until they leave 
the school, and it is varied and flexible enough to 
give employment to the mind in all its stages of 
development. Moreover, this literature is interest- 
ing, and is allied with interesting concerns ; half the 
hard places are overcome by the willing mind, and 
the boy who stumbles over some jejune lesson in his 
reading-book will run over a bit of genuine prose 



LITERARY MATERIALS 



93 



from Irving which the schoolbook maker, with his 
calipers, pronounces too hard. 

" We have gone quite far enough in the mechani- 
cal development of the common school system. 
What we most need is the breath of life, and reading 
offers the noblest means for receiving and imparting 
this breath of life. The spiritual element in educa- 
tion in our common schools will be found to lie in 
reserve in literature, and, as I believe, most effec- 
tively in American literature. 

" Think for a moment of that great, silent, resist- 
less power for good which might at this moment be 
lifting the youth of the country, were the hours for 
reading in school expended upon the undying, life- 
giving books ! Think of the substantial growth of 
a generous Americanism, were the boys and girls 
to be fed from the fresh springs of American litera- 
ture ! It would be no narrow provincialism into 
which they would emerge. The windows in Long- 
fellow's mind looked to the east, and the children 
who have entered into possession of his wealth travel 
far. Bryanf s flight carries one through upper air, 
over broad champaigns. The lover of Emerson has 
learned to get a remote vision. The companion of 
Thoreau finds Concord become suddenly the centre 
of a very wide horizon. Irving has annexed Spain 
to America. Hawthorne has nationalized the gods 
of Greece and given an atmosphere to New England. 
Whittier has translated the Hebrew Scriptures into 



94 



SPECIAL METHOD OF CLASSICS 



the American dialect. Lowell gives the American 
boy an academy without cutting down a stick of 
timber in the grove, or disturbing the birds. Holmes 
supplies that hickory which makes one careless 
of the crackling of thorns. Franklin makes the 
America of a past generation a part of the great 
world before treaties had bound the floating states 
into formal connection with venerable nations. 
What is all this but saying that the rich inheritance 
we have is no local ten-acre lot, but a part of the 
undivided estate of humanity. Universality, Cosmo- 
politanism, — these are fine words, but no man ever 
secured the freedom of the Universe who did not 
first pay taxes and vote in his own village.*' — Lit- 
erature in School" (Houghton, Mifflin, & Co.). 

9. The series of American classics is nowise con- 
fined to the ideas of local or national patriotism, but 
above and beyond that deep and powerful sentiment 
which magnifies the opportunity and manifest destiny 
of our nation, it grasps at the ideal form and content 
of those Christian virtues which now and evermore 
carry healing and comfort to the toiling millions. 
Our poets, as they have pondered on the past and 
looked into the future, were not able to be content 
with less than the best. As the vision of the com- 
ing years unrolled itself before them they looked 
upon it with joy mingled with solicitude. In the 
mighty conflicts now upon us only those of generous 
and saintly purpose and of pure hearts can prevail. 



LITERARY MATERIALS 



95 



"Brief is the time, I know, 
The warfare scarce begun ; 
Yet all may win the triumphs thou hast won. 
Still flows the fount whose waters strengthened thee, 
The victors' names are yet too few to fill 
Heaven's mighty roll ; the glorious armory 
That ministered to thee is open still." — Bryant. 

To reveal this Christian armory, the defences of 
the soul against the assaults of evil, has been the 
highest inspiration of our poets. What depth and 
beauty and impersonation of Christian virtues do we 
find in Snow-Bound," Among the Hills," Evange- 
line, "The Conqueror's Grave," ''To a Waterfov^l," 
"The Groves were God's First Temples," ''The Liv- 
ing Temple," "The Sun Day Hymn," "The Cham- 
bered Nautilus," "Vision of Sir Launfal," "The 
Great Stone Face." 

The Bible is not generally admissible as a school- 
book, but the spirit of Christianity, clad in the forms 
of strength and grace, is immanent in the works of 
our poets. So universal, so human, so fit to the 
needs and destinies of men, are the truths of the 
great evangel, that the prophets and seers of our 
race drift evermore into the sheltering haven they 
supply. To drink in these potent truths through 
poetry and song, to see them enshrined in the im.- 
agery and fervor of the sacred masterpieces of our 
literature, is more than culture, more than morality ; 
it is the portal and sanctuary of religious thought, 
and children may enter it. 



9 



96 



SPECIAL METHOD OF CLASSICS 



10. The higher products of literature contain an 
energy that quickens spiritual life in morals, in art, 
and in religion. To many people, whose lives are 
submerged in commercial pursuits or in the great 
struggle to develop and utilize the material resources 
of the world, these spiritual forces seem vague and 
shadowy, if not mythical. But there are plenty of 
heroic souls in the realm of letters, such as Emerson, 
Scudder, Ruskin, Arnold, and Carlyle, who are not 
disposed to let men settle down in lazy satisfaction 
with material good, nor to be blinded even by the 
splendor of modern achievements in engineering, 
in medicine, and in the application of electricity. 
We must at least reach a point of view high enough 
to perceive the relations of these natural riches to 
the higher nature and destiny of man. 

Scudder says, *'It is to literature that we must 
look for the substantial protection of the growing 
mind against an ignoble, material conception of life, 
and for the inspiring power which shall lift the 
nature into its rightful fellowship with whatsoever 
is noble, true, lovely, and of good report.*' 

Shelley, in like spirit, says : The cultivation of 
poetry is never more to be desired than at periods 
when, from an excess of the selfish and calculating 
principle, the accumulation of the ^materials of ex- 
ternal life exceed the quantity of the power of as- 
similating them to the internal laws of human nature. 
The body has then become too unwieldy for that 
which animates it." 



LITERARY MATERIALS 



97 



Matthew Arnold, in Sweetness and Light," while 
discussing the function of that truer culture and " per- 
fection which consists in becoming something rather 
than in having something," remarks : — 

And this function is particularly important in our 
modern world, of which the whole civilization is, to a 
much greater degree than the civiUzation of Greece 
and Rome, mechanical and external, and tends con- 
stantly to become more so. But above all in our own 
country has culture a weighty part to perform because 
here that mechanical character, which civilization 
tends to take everywhere, is shown in the most emi- 
nent degree. Indeed, nearly all the characters of 
perfection, as culture teaches us to fix them, meet in 
this country with some powerful tendency which 
thwarts them and sets them at defiance. The idea 
of perfection as an inward condition of the mind and 
spirit is at variance with the mechanical and material 
civilization in esteem with us, and nowhere, as I have 
said, so much in esteem as with us." 

II. Judged by these higher standards our writers 
and literary leaders were not simply Americans. They 
were also Europeans. The Puritan brought his reli- 
gion with him, the Cavalier acquired his gentlemanly 
instincts in the old home, not in the untrodden forests 
of the New World. Much of what we call American 
is the wine of the Old World poured into the bear- 
skins and buckskins of the West, with a flavor of the 
freedom of our Western wilds. Though born and 

H 



98 



SPECIAL METHOD OF CLASSICS 



bred on American soil and to the last exemplars of 
the American spirit, our literary leaders have derived 
their ideas and inspiration from the literature, tradi- 
tion, and history of the Old World. It will be no 
small part of our purpose, therefore, to open up to 
the children of our common schools the best entrance 
to the history and literature of Europe. Our own 
writers and poets have done this for us in a variety of 
instances : Hawthorne's rendering of the Greek myths, 
Bryanfs translation of the Iliad'' and Odyssey," 
a good half of Irving's " Sketch-Book," _ Lowell's 
"Vision of Sir Launfal," "Aladdin," and "Prome- 
theus," Irving's "Alhambra," Longfellow's "Golden 
Legend," " Sandalphon," Taylor's " Boys of Other 
Countries." Nearly the whole of our literature, even 
when dealing ostensibly with American topics, is suf- 
fused with the spirit and imagery of the Old World 
traditions. There is also a large collection of prose 
versions of European traditions, which, while not 
classic, are still lively renderings of old stories and 
well suited to the collateral reading of children. Such 
are " Gods and Heroes," " Tales from English His- 
tory," " Tales from Spenser," " Heroes of Asgard," 
" Story of the Iliad and Odyssey." 

The transition from our own poets who have 
handled European themes to English writers who 
have done the same, is easy and natural ; Macaulay's 
" Lays of Ancient Rome," Scott's "Tales of a Grand- 
father," " The Stories of Waverley," the " Christmas 



LITERARY MATERIALS 



Carol/' Kingsley's "Greek Heroes" and Water 
Babies," Ruskin's "King of the Golden River," 
"Lady of the Lake," " Marmion," " Roger de Coverley 
Papers," " Merchant of Venice," " Arabian Nights," 
"Peasant and Prince," Bunyan's "Pilgrim's Prog- 
ress," " Gulliver's Travels," and others have become 
by inheritance and birthright as much a part of the 
American child's culture as the more distinctive prod- 
ucts of our own writers. No line can be drawn be- 
tween those writings which are American and those 
which sprung from the soil of England and Europe. 
So intimate and vital is the connection between our 
present and our past, between our children and their 
cousins across the water. 

These American and European literary products lie 
side by side in the school course, though the predomi- 
nating spirit through the middle and higher grades 
up to the eighth should be American. We have 
noticed that in the earlier grades most of our classic 
reading matter comes from Europe, the nursery 
rhymes, the folk-lore, fables, and myths, because 
the childhood of our culture periods was in Europe, 
But into the fourth grade, and from there on, begin- 
ning with the pioneers on sea and land, our American 
history and literature enters as a powerful agent of 
culture. It brings us into quick and vital contact, not 
simply with the outward facts, but with the inmost 
spirit, of our national life and struggle toward de- 
velopment. This gives the American impulse free 



L. Of 0, 



100 



SPECIAL METHOD OF CLASSICS 



and full expansion, and fortunate are we, beyond 
expression, that pure and lofty poets stand at the 
threshold to usher the children into this realm, 
founded deep in the realism of our past history and 
rising grandly into the ideaUsm of our desires and 
hopes. As we advance into the sixth, seventh, 
and eighth grades the literature of Europe begins 
again to increase in quantity and influence, and to 
share equally with American authors the attention 
of the children. 

The Americanism of our poets and prose writers, 
as previously shown, has also another side to it, which 
is one sign of the breadth and many-sidedness of Kt- 
erature as a study for the young. North America is 
a land rich in variety of natural scenery and resource. 
Nature has decked the New World with a lavish hand, 
forest and mountain, lake and river, prairie and 
desert, the summer land of flowers and the home of 
New England winters. The masterpieces of our poets 
are full of the scenery, vegetation, sunsets, mountains, 
and prairies of the Western empire. The flowers, the 
birds, the wild beasts, the pathless forests, the limit- 
less stretches of plain, have mirrored themselves in 
the songs of our poets, and have rendered them 
dearer to us because seen and realized in this ideal- 
ism. Unconsciously perhaps the feeling of patri- 
otism is largely based upon this knowledge of the 
rich and varied beauty and bounty of our native 
land. . 



LITERARY MATERIALS 



lOI 



" I love thy rocks and rills, 
Thy woods and templed hills, 
My heart with rapture thrills, 
Like that above." 

As along the shores of our Northern lakes the clear 
and quiet waters reflect the green banks, the rolling, 
forest-crowned hills, the rocky bluffs, the floating 
clouds, and overarching blue, so in the homespun, 
classic verse and prose of our own writers are imaged 
the myriad charms of our native land. Bryant 
especially is the poet of forest and glade, " The For- 
est Hymn,'' "The Death of the Flowers," "The Re- 
turn of the Birds," "A Summer Ramble," "The 
Fringed Gentian," "The Hunter of the Prairies," 
"The White-footed Deer," "To a Waterfowl," 
" Thanatopsis," and many others. Longfellow's 
"Hiawatha," "Evangeline"; Whittier's "Barefoot 
Boy," "Songs of Labor," "Among the Hills," and 
"Snow-Bound"; Hawthorne's "Tales of the White 
Hills"; Holmes's "Spring"; Lowell's "Indian Sum- 
mer Reverie," "The Oak," and many more. 

The literature selected for these grades has a wide 
scope. It is instinct with the best Americanism. It 
draws from Europe at every breath, while enjoying 
the freedom of the West. Social, political, and home 
life and virtue are portrayed in great variety of dress. 
Nature also and natural science reveal the myriad 
forms of beauty and utility. 



CHAPTER IV 



CLASS-ROOM METHOD IN READING 

I. The Doorway. 

There is a strong comfort in the idea that in the 
preparation of a masterpiece for a reading class the 
teacher may be deaUng with a unity of thought in a 
variety of relations that makes the study a compre- 
hensive culture-product both to herself and to the 
children. To become a student of Hiawatha " as a 
whole, and in its relations to Indian life and tradition, 
early aboriginal history, and Longfellow's connection 
with the same, is to throw a deep glance into history 
and anthropology, and to recognize literature as the 
permanent form of expressing their spirit. There 
are a good many side-lights that a teacher needs to 
get from history and other literature, and from the 
author's life, in order to see a literary masterpiece in 
its true setting. It is the part of the poet to make 
his work intensely real and ideal, the two elements 
that appeal with trenchant force to children. The 
teacher needs not only to see the graphic pictures 
drawn by the artist, but to gather about these central 
points of view other collateral, explanatory facts that 
give a deeper setting to the picture. Fortunately, 

102 



CLASS-ROOM METHOD IN READING IO3 

such Study as this is not burdensome. There is a 
joyousness and sparkle to it that can reUeve many 
an hour of tedium. Literature in its best forms is 
recreation, and brings an infusion of spiritual energy. 
We should not allow ourselves to confuse it with 
those more humdrum forms of school employment, 
like spelling, figuring, reading in the formal sense, 
grammar, writing, etc. Literature is the spiritual 
side of school effort, the uplands of thought, where 
gushing springs well from the roots and shade of 
overarching trees. There is jollity and music, beauty 
and grandeur, the freshness of cool breezes and of 
mountain scenery, in such profusion as to satisfy the 
exuberance of youthful spirit, and to infuse new 
energy into old and tired natures. If the teacher 
can only get out of the narrow streets of the town 
and from between the dead walls of the schoolroom, 
up among the meadows and groves and brooks, in 
company with Bryant or Longfellow or Whittier, if she 
can only take a draught of these spirit-waters before 
walking into the schoolroomi, her thought and con- 
duct will be tempered into a fit instrument of culture. 

The teacher's preparation is not only in the intel- 
lectual grasp of the thought, but in the synipathy, 
feeling, and pleasure germane to a classic. The 
aesthetic and emotional elements, the charm of poetry, 
and the sparkle of wit and glint of literary elegance 
and aptness are what give relish and delight to true 
literary products. Literature appeals to the whole 



I04 SPECIAL METHOD OF CLASSICS 

nature and not to the intellect alone. It is not super- 
ficial and formal, but deep and spiritual. The teacher 
who reads a classic like Marmion," thoughtfully 
dwelling upon the historic pictures, calling to mind 
other of Scott's stories and the earlier struggle be- 
tween Scotland and England, is drinking at the fresh 
fountains and sources of some of the best parts of 
European history. The clear and rock-rimmed lakes 
of Scotland, her rugged mountains and ruined castle 
walls, are not more delightful to the traveller than the 
pictures of life and history that appear in " Tales of 
a Grandfather," " Rob Roy,'' Marmion," and Lady 
of the Lake." To paint these stirring panoramic 
views of Scotch adventure and prowess upon the 
imagination of the young is to invigorate their thought 
with the real sentiment of patriotism, and with appre- 
ciation for manly struggle, endurance, and spirit. 
The vivid insight it gives into feudal society in 
church and court and castle, on battle-field and in 
dining hall, among the rude peasantry and the unlet- 
tered nobility, is found more lifelike and lasting 
than the usual results of historical study. 

The moment we take a longer masterpiece and 
examine it as a representative piece of human life, or 
as a typical portraiture of a historical epoch, it 
becomes the converging point for much lively and 
suggestive knowledge, deep and strong social inter- 
ests, and convincing personification of moral impulses. 

The best preparation, therefore, a teacher can make 



CLASS-ROOM METHOD IN READING IO5 

for a class is a spiritual and spirited one. At first 
the linguistic, formal, verbal mastery of literature, its 
critical examination, even its elocution, should remain 
in the background both for teacher and children. 
Let the direct impress of the thought, motive, and 
emotion of the characters be unimpeded ; give the 
author a chance to speak direct to the hearts of the 
children, and the avenue toward the desired results in 
formal reading will be left wide open. 

We would not deny that a certain labor is required 
of the teacher in such preparation. But, in the main, 
it is a refreshing kind of labor. If it brings a feel- 
ing of weariness, it is the kind that conduces to 
sound and healthy sleep. It invokes a feeling of 
inward power and of accumulated rich resource that 
helps us to meet with confidence the emergencies 
and opportunities of instruction. 

2. In the assignment of the lesson the teacher has a 
chance to give the children a gHmpse of the pleasure 
that awaits them, and to catch a little of the enthu- 
siasm which her own study has awakened. This 
should be done briefly and by significant suggestion. 
In first introducing a longer work, it will pay to 
occupy more than is usual in recitations in opening 
up the new subject; if it is historical, in locating the 
time, circumstances, and geographical setting. The 
chief aim of the assignment should be to awaken 
curiosity and interest which may be strong enough to 
lead to a full and appreciative study of the lesson. 



I06 SPECIAL METHOD OF CLASSICS 

A second aim of the assignment is to pave the way 
to an easier mastery of verbal difficulties that arise, 
such as new and difficult words, obscure or involved 
passages. The first aim is a substantial and fruitful 
one. It approaches the whole reading lesson from 
the side of interest and spirit. It seeks to plant 
direct incentives and suggestions deep enough in the 
mind to start effort. The assignment should take it 
for granted that natural interest and absorption in 
the thought will lead directly to that kind of vigorous 
effort and mastery that will secure natural and ex- 
pressive oral reading. Look well to the deeper 
springs of thought and action, and the formal read- 
ing will open just the avenue needed to realize good 
expression. 

Skill, originality, and teaching art are much needed 
in the assignment. It is not how much the teacher 
says, but the suggestiveness of it, the problems 
raised, the questions whose answers lie in the exam- 
ination of the lesson. The reference to previous 
readings which bear resemblance to this selection; 
the inquiry into children's experiences, sets them to 
thinking. 

Sometimes it pays to spend five or ten minutes in 
attacking the difficult words and meanings of the 
lesson assigned. Let the class read on and discover 
words or phrases that puzzle them. Let difficult 
forms be put on the board and syllabicated if neces- 
sary. A brief study of synonymous words and 
phrases may be in place. 



CLASS-ROOM METHOD IN READING 



107 



It is a mistake to decline all helpful and sugges- 
tive study of the next lesson in class, on the ground 
that it invalidates the self-activity of children. Self- 
activity is, indeed, the chief aim of a good assign- 
ment. It is designed to stimulate the children to 
energetic and well-directed effort. Self-activity is 
not encouraged by requiring children to struggle 
with obstacles they have not the ability to surmount. 
Pronouncing new words and searching for dictionary 
meanings is often made a mechanical labor which is 
irksome and largely fruitless, because the wrong 
pronunciations are learned and the definitions do 
not fit. Before children are required to use the dic- 
tionary in pronouncing and defining words, they need 
careful exercises in how to use and to interpret the 
dictionary. 

The teacher needs to make a study of the art of 
assigning lessons. Clearness and simplicity, so as to 
give no ground for misunderstandings, are the result 
of thoughtful preparation on the teacher's part. 
There is always danger of giving too much or too 
little, of carelessness and unsteady requirements, 
overburdening the children one day, and even for- 
getting the next day to assign a definite task. The 
forethought and precision with which a teacher 
assigns her lessons is one of the best tests of her 
prudence and success in teaching. 

It is necessary also to be on one's guard against 
hasty assignments. Even when proper care has 



I08 SPECIAL METHOD OF CLASSICS 

been taken in planning the next lesson, the time 
slips by with urgent work, and the signal for dis- 
missal comes before time has been taken for any 
clear assignment. 

If the teacher knows just what references will 
throw added light upon the lesson, what books and 
pages will be directly helpful, if he can appoint dif- 
ferent pupils to look up particular references and 
sometimes even go to the library with them and 
search for the references, in grades from the fifth 
through the eighth, the result may be very helpful. 
In the class recitation it is necessary to gather up 
the fruits of this reference work with as little waste 
of time as possible, recognizing that it is purely 
collateral to the main purpose. 

Pictures and maps are useful oftentimes as refer- 
ences. As children advance in the grades, they are 
capable of greater independence and judgment in the 
use of such materials. General, loose, and indefinite 
references are a sign of ignorance, carelessness, and 
lack of preparation on the teacher's part. They are 
discouraging and unprofitable to children. But we 
desire to see children broadening their views, extend- 
ing their knowledge of books and of how to use them. 
The amount of good literature that can be well 
treated and read in the class is small, but much sug- 
gestive outside home and vacation reading may be 
encouraged, that will open a still wider and richer 
area of personal study. 



CLASS-ROOM METHOD IN READING IO9 

3. In spite of all the precautions of the teacher, in 
spite of lively interest and intelligent study by the 
children, there will be many baitings and blunders, 
many inaccuracies in the use of eye and voice. 
These faults spring partly from habit and previous 
home influences. The worst faults are often those 
of which a child is unconscious, so habitual have they 
become. If we are to meet these difficulties wisely, 
we must start and keep up a strong momentum in 
the class. There should be a steady and strong 
current of effort in which all share. This depends, 
as has been often said, upon the power of the selec- 
tion to awaken the thought and feeling of the chil- 
dren. It depends equally upon the pervasive spirit 
and energy of the teacher. If we try to analyze this 
complex phenomenon, we m.ay find that, so far as the 
children are concerned, two elements are present, 
natural and spontaneous absorption in the ideas and 
sensibilities awakened by the author, and the bracing 
conviction that sustained effort is expected and re- 
quired by the teacher. Children, to read well, must 
be free ; they must feel the force of ideas and of the 
emotions and convictions awakened by them. They 
must also be conscious of that kind of authority and 
control which insists upon serious and sustained 
effort. Freedom to exercise their own powers and 
obedience to a controlling influence are needful. If 
the teacher can secure this right movement and fer- 
ment in a class, she will be able to correct the errors 



no 



SPECIAL METHOD OF CLASSICS 



and change bad habits into the desired form of ex- 
pression. The correction of errors, in the main, 
should be quiet, incidental, suggestive, not disturbing 
the child's thought and effort, not destroying the 
momentum of his sentiment and feeling. Let him 
move on firmly and vigorously ; only direct his move- 
ment here and there, modify his tone by easy sugges- 
tions and pertinent questions, and encourage him as 
far as possible in his own effort to appreciate and 
express the author's idea. 

In reading lessons there are certain purely formal 
exercises that are very helpful. The single and con- 
cert pronunciation of difficult or unusual words that 
come up in old and new lessons, the vocal exercises 
in syllabication and in vowel and consonant drill, are 
examples. They should be quick and vigorous, and 
preliminary to their application in lessons. 

4. The teacher is only a guide and interpreter. 
With plenty of reserve power, he should only draw 
upon it occasionally. His chief business is not to 
show the children how to read by example, nor to be 
always explaining and amplifying the thought of the 
author. His aim should be to best call the minds of 
the children into strong action through the stimula- 
tion of the author's thought, and to go a step farther 
and reproduce and mould this thought into oral 
expression. 

In order to call out the best efforts of children, a 
teacher needs to study well the art of questioning. 



CLASS-ROOM METHOD IN READING III 



The range of possibilities in questioning is very 
wide. If a rational, sensible question is regarded as 
the central or zero point, there are many degrees 
below it in the art of questioning and many degrees 
above it. Below it is a whole host of half -rational or 
useless questions which would better be left unborn: 
What does this word mean ? Why didn't you study 
your lesson ? Why weren't you paying attention ? 
What is the definition of also ? How many mistakes 
did Mary make ? 

Much time is sometimes wasted in trying to an- 
swer aimless or trivial questions : Peter, what does 
this strange word mean, or how do you pronounce it ? 
Ethel may try it. Who thinks he can pronounce it 
better ? Johnny, try it. Perhaps somebody knows 
how it ought to be. Sarah, can't you pronounce it ? 
Finally, after various efforts, the teacher passes on to 
something else without even making clear the true 
pronunciation or meaning. This is worse than kill- 
ing time. It is befuddling the children. A question 
should aim clearly at some important idea, and should 
bring out a definite result. The children should 
have time to think, but not to guess and dawdle, and 
then be left groping in the dark. 

The chief aim of questions is to arouse vigor and 
variety of thought as a means of better appreciation 
and expression. Children read poorly because they 
do not see the meaning or do not feel the force 
of the sentiment. They give wrong emphasis and 



112 



SPECIAL METHOD OF CLASSICS 



intonation. A good question is like a flash of light- 
ning which suddenly reveals our standing-ground and 
surroundings, and gives the child a chance to strike 
out again for himself. His intelligence lights up, he 
sees the point, and responds with a significant ren- 
dering of the thought. But the teacher must be a 
thinker to ask simple and pertinent questions. He 
can't go at it in a loose and lumbering fashion. 
Lively and sympathetic and appreciative of the 
child's moods and feelings must he be, as well as 
clear and definite in his own perception of the 
author's meaning. 

Questioning for meaning is equivalent to that for 
securing expression, and thus two birds are hit with 
one stone. A pointed question energizes thought 
along a definite line, and leads to a more intense and 
vivid perception of the meaning. This is just the 
vantage-ground we desire in order to secure good 
expression. We wish children not to imitate, but 
first to see and feel, and then to express in becoming 
wise the thought as they see it and feel it. This 
makes reading a genuine performance, not a parrot- 
like formalism. 

5. Trying to awaken the mental energy and action 
of a class as they move on through a masterpiece, 
requires constant watchfulness to keep alive their 
sense-perceptions and memories, and to touch their 
imaginations into constructive effort at every turn in 
the road. Through the direct action of the senses 



CLASS-ROOM METHOD IN READING II 3 



the children have accumulated much variety of sense- 
materials, of country and town, of hill, valley, river, 
lake, fields, buildings, industries, roads, homes, gar- 
dens, seasons. Out of this vast and varied quarry 
they are able to gather materials with which to con- 
struct any landscape or situation you may desire. 
Give the children abundance of opportunity to use 
these collected riches, and to construct, each in his 
own way, the scenes and pictures that the poet's 
art so vividly suggests. Many of the questions we 
ask of children are designed simply to recall and 
reawaken images which lie dormant in their minds, 
or, on the other hand, to find out whether they can 
combine their old sense-perceptions so skilfully and 
vividly as to realize the present situation. Keen and 
apt questions will reach down into the depth of a 
child's life experiences and bring up concrete images 
which the fancy then modifies and adjusts to the 
present need. The teacher may often suggest some- 
thing in his own observations to kindle like memories 
in theirs. Or, if the subject seems unfamiliar, he 
may bring on a picture from book or magazine. 
Sometimes a sketch or diagram on the board may 
give sense-precision and definiteness to the object 
discussed, even though it be rudely drawn. This con- 
stant appeal to what is real and tangible and experi- 
mental, not only locates things definitely in time and 
space, makes clear and plain what was hazy or mean- 
ingless, awakens interest by connecting the story or 



114 



SPECIAL METHOD OF CLASSICS 



description with former experiences, but it sets in 
action the creative imagination which shapes and 
builds up new and pleasing structures, combining old 
and new. This kind of mental elaboration, which 
reaches back into the senses and forward into the 
imagination, is what gives mobility and adjustability to 
our mental resources. It is not stiff and rigid and 
refractory knowledge that we need. Ideas may 
retain their truth and strength, their inward quality, 
and still submit to infinite variations and adjustments. 
Water is one of the most serviceable of all nature's 
compounds, because it has such mobility of form, 
such capacity to dissolve and take into solution other 
substances, or of being absorbed and even lost sight 
of in other bodies. The ideas we have gathered and 
stored up from all sources are our building mate- 
rials ; the imagination is the architect who conceives 
the plan and directs the use of different materials 
in the growth of the new structures. The teach- 
er's chief function in reading classes is, on the one 
hand, to see that children revive and utilize their 
sense-knowledge, and on the other, to wake the 
sleeping giant and set him to work to build the 
beauteous structures for which the materials have 
been prepared. But for this, teachers could be dis- 
pensed with. As Socrates said, they are only 
helpers ; they stand by, not to perform the work, but 
to gently guide, to stimulate, and now and then to 
lend a helping hand over a bad place. 



CLASS-ROOM METHOD IN READING II5 

Explanations, therefore, on the teacher*s part, 
should be clear and brief, purely tributary to the 
main effort. In younger classes, when the children 
have, as yet, little abiUty to use references, the 
teacher may add much, especially if it be concrete, 
graphic, picturesque, and bearing directly upon the 
subject. But as children grow more self-reliant 
they can look up facts and references, and bring 
more material themselves to the elucidation of the 
lesson. But even in adult classes the rich experience 
of a trained and wise teacher, whose illustrations are 
apt and graphic and criticisms incisive, is an intense 
pleasure and stimulus to students. 

6. The major part of time and effort in reading 
classes should be given to the reading proper, and 
not to oral discussions, explanations, and collateral 
information and references. It is possible to have 
interesting discussions and much use of reference 
books, and still make small progress in expressive 
reading. The main thing should not be lost sight 
of. We should learn to march steadily forward 
through lively and energetic thought toward expres- 
sive reading. There is no other right approach to 
good reading except through a lively grasp of the 
thought, sentiment, and style of the author. But the 
side-lights that come from collateral reading and 
reference are of great significance. They are some- 
thing like the scenery on the stage. They make 
the effect more intense and real. They supply a 



Il6 SPECIAL METHOD OF CLASSICS 

background of environment and association which 
give the ideas more local significance and a stronger 
basis in the whole complex of ideas. 

The reading or oral rendering is the final test of 
understanding and appreciation of the lesson. The 
recitation should focus in this applied art. All 
questioning and discussion that do not eventuate in 
expressive reading fall short of their proper result. 
Reading is a school exercise in which the principles 
discussed can be immediately applied, and this is 
scarcely true in studies like history, science, and 
mathematics. There are many hindrances in the 
way of this fruitful result ; the teacher is tempted to 
talk and explain too much, interesting questions and 
controversies spring up, trivial matters receive too 
much consideration, much time is spent in the oral 
reproduction of the thought ; often the time slips by 
with a minimum of effective reading. 

The questions, discussions, collateral references, 
and explanations should be brought into immediate 
connection with the children's reading, so that the 
special thought may produce its effect upon expres- 
sion. This test of effectiveness is a good one to 
apply to explanations, definitions, and questions. 
Unless they produce a pronounced effect upon the 
reading, they are largely superfluous. In view of 
this the teacher will learn to be sparing of words, 
laconic and definite in statement, pointed and clear 
in questioning, and energetic in pushing forward. 



CLASS-ROOM METHOD IN READING II 7 



While interest in the thought-content is the impel- 
ling motive in good reading exercises, lively and 
natural expression is likewise the proper fruit and 
outcome of such a motive carried to its proper end. 

7. In order to keep up the right interest and 
movement, it is necessary to give considerable vari- 
ety to the work. A teacher's good sense and tact 
should be like a thermometer which registers the 
mental temperature of the class. If kept too long at 
a single line of effort, its monotony induces careless- 
ness and inattention; while a total change to some 
other order of exercise would awake their interest 
and zeal. Variety is needed also within the compass 
of a single recitation, because there are several pre- 
. liminaries and varieties of preparatory drill which 
conduce to good rendering of any selection. Such 
are vocal exercises in consonants and vowels ; pro- 
nunciation and syllabication of new or difficult 
words ; physical exercises to put the body and ner- 
vous system into proper tone; the assignment of the 
next lesson, requiring a peculiar effort and manner 
of treatment; the report and discussion of refer- 
ences ; concert drills ; the study of meanings — syno- 
nyms and derivations; illustrations and information 
by the teacher ; introduction of other illustrative mat- 
ter, as pictures, drawings, maps, and diagrams. 
Variety can be given to each lesson in many ways 
according to the ingenuity of the teacher. If we are 
reading a number of short selections, they themselves 



Il8 SPECIAL METHOD OF CLASSICS 

furnish different varieties and types of prose and 
verse. The dramatist or novelist provides for such 
variety by introducing a series of diverse s^cenes, all 
leading forward to a common end. 

8. Parallel to the requirement of variety is the 
equally important demand that children should learn 
to do one thing at a time and learn to do it well. 
This may appear contradictory to the former require- 
ment, but the skill and tact of the teacher is what 
should solve this seeming contradiction. It is a fact 
that we try to do too many things in each reading 
lesson. We fail to pound on one nail long enough 
to drive it in. Reading lessons often resemble a 
child pounding nails into a board. He strikes one 
nail a blow or two, then another, and so on until a • 
dozen or more are in all stages of incompleteness. 
We too often allow the recitation hour to end with a 
number of such incomplete efforts. Good reading is 
not like moving a house, when it is all carried along 
in one piece. We reach better results if we concen- 
trate attention and effort during a recitation along 
the line of a narrow aim. At least this seems true 
of the more formal, mechanical side of reading. It 
is better to try to break up bad habits, one at a time, 
rather than to make a general, indefinite onslaught 
upon all together. Suppose, for example, that the 
teacher suggests as an aim of the lesson conversa- 
tional reading, or that which sounds like pupils talk- 
ing to each other. Many dialogue selections admit 



CLASS-ROOM METHOD IN READING HQ 

of such an aim as this. If this aim is set up at the 
beginning of the lesson, the children's minds will be 
rendered acute in this direction ; they will be on the 
alert for this kind of game. Each child who reads 
is scrutinized by teacher and pupils to see how near 
he comes to the ideal. A conscious effort begins to 
dominate the class to reach this specific goal. Chil- 
dren may close their eyes and listen to see if the 
reading has the right sound. A girl or boy goes 
into an adjoining entry or dressing room and listens 
to see if those in the class are reading or talking. 
The enthusiasm and class spirit awakened are very 
helpful. Not that a whole recitation should be given 
up to that sort of thing, but it is the characteristic 
effort of the lesson. When the children practise the 
next lesson at home they will have this point in 
mind. 

For several days this sort of specific, definite aim 
at a narrow result may be followed up in the class 
till the children begin to acquire power in this direc- 
tion. What was, at first, painfully conscious effort 
begins to assume the form of habit, and when this 
result is achieved, we may drop this aim as a leading 
one in the recitation, and turn our attention to some 
different line of effort. Distinct pronunciation of 
sounds is one of the things that we are always aim- 
ing at, in a general way, and never getting. Why 
not set this up in a series of recitations as a definite 
aim, and resort to a series of devices to lay bare the 



120 



SPECIAL METHOD OF CLASSICS 



kind of faults the children are habitually guilty of ? 
Give them a chance to correct these faults, and awake 
the class spirit in this direction. It will not be diffi- 
cult to convince them that they are not pronouncing 
their final consonants, like t, /, m, r, and k. Keep 
the attention for a lesson to this kind of error till 
there is recognizable improvement. Then notice 
the short vowel sounds in the unaccented syllables, 
and give them search-light attention. Notice later 
the syllables that children commonly slur over. 
Mark these fugitives, and see if they continue so 
invisible and inaudible. They are like Jack the 
Giant Killer, when he put on his cloak of invisi- 
bility, or like Perseus under similar circumstances. 
See if we can find these fellows who seem to mas- 
querade and dodge about behind their companions. 
Then some of the long vowels and diphthongs will 
require investigation. They are not all so open- 
faced and above board as they might be. When 
children have such a simple and distinct aim in 
view, they are ready to work with a vim and to 
exert themselves in a conscious effort at improve- 
ment. Keep this aim foremost in the recitation, 
although other requirements of good reading are 
not wholly neglected. 

After a definite line of effort has been strongly 
developed as one of the above described, it is pos- 
sible thereafter to keep it in mind with slight atten- 
tion. But if no special drill has ever been devoted 



CLASS-ROOM METHOD IN READING 121 

to it for a given length of time, it has not been 
brought so distinctly to mind as to produce a lasting 
impression and to lay the basis for habit. Besides 
the two aims, clear articulation and conversational 
tones, there are others that may be labored at simi- 
larly. Appreciation of the thought as expressed by 
the reading is a rich field for critical study of a piece, 
and as a basis for observing and judging the chil- 
dren's reading. This idea is well implied by such 
questions as follow: Is that what the passage 
means .'^ Have you given expression to the author's 
meaning by emphasis on this word ? Does your 
rendering of this passage make good sense ? Com- 
pare it with what precedes. How did the man feel 
when he said this ? What do we know of his char- 
acter that would lead us to expect such words from 
him ? This line of questions has a wide and varied 
range. The chief thing is to scrutinize the thought 
in all the light attainable, and appeal to the child's 
own judgment as to the suitableness of the tone and 
emphasis to the thought. Does it sound right .'^ Is 
that what the passage means ? 

Each characteristic form of prose or verse has a 
peculiar style and force of expression that calls for a 
corresponding oral rendering. There is the serious 
and massive, though simple, diction of Webster's 
speeches, with its smooth and rounded periods, call- 
ing for slow and steady and energetic reading. We 
should notice this characteristic of an author, and 



122 SPECIAL METHOD OF CLASSICS 

grow into sympathy with his feeHng, language, and 
mental movement. In Macaulay's Lays of Ancient 
Rome/' the ring of martial music is in the words, and 
it swells out into rapid and rousing speech which 
should correspond to the thought. In Evangeline 
the flow of language is placid and gentle and rhyth- 
mical, and in consonance with the gentle faith and 
hope of Evangeline. Every true literary product 
has its own character, which the genius of the author 
has impressed upon its language and moulded into 
its structure, and which calls for a rendering fit and 
appropriate. Before completing a selection, we 
should detect this essence and quahty and bring our 
reading to reveal it. The places should be pointed 
out where it comes into prominence. 

When completing such a work of art there should 
be given opportunity to bring all the varied elements 
and special aims discovered and worked out during 
its reading to a focus. 

In the final review and rereading of a complete 
poem or prose selection the points of excellence in 
reading which have been the special aims of effort 
in the studies of the piece should be kept sharply in 
mind and pushed to a full expression. The realiza- 
tion of these various aims may be set before the 
class as the distinct object of their closing work on a 
masterpiece. The failure to hold vigorously to this 
final achievement is a clear sign of intellectual and 
moral lassitude. Reading, as noticed before, is 



CLASS-ROOM METHOD IN READING 1 23 



one of the few studies in which the final appHcation 
of theory to practice can be effected, and children 
may realize that things are learned for the sake of 
using them, and not simply against some future con- 
tingency. This implies, however, much resource 
and skill on the teacher's part in awakening the chil- 
dren. The impulses and aims which arouse the 
children to strenuous effort should spring from 
within, and should be expressions of their own self- 
activity and volition. There is much need of the 
enthusiasm and will-energy that overcome drudgery. 
Children should be taught to be dissatisfied with any- 
thing less than real accomplishment. 

The children will naturally memorize certain pas- 
sages which strike their fancy. Other passages 
have been suggested by the teacher for different 
pupils to memorize. In one of the closing lessons 
let the children recite these parts before the class. 
If the teacher has succeeded in calling out the live 
interest of the class during the previous study, such 
a lesson will be a joy to both pupils and teacher. 
One or two of the children may also volunteer or be 
appointed to make an oral statement of the argu- 
ment, which will give freedom to natural and effec- 
tive speech. Such a round-up of the reading lessons 
at the end of a series of interesting studies is a 
rich experience to the whole class. 

Besides the importa^nt special aims thus far sug- 
gested, which should each stand out clear for a 



124 SPECIAL METHOD OF CLASSICS 

series of lessons until its value is realized and worked 
over into habit, there are other subordinate aims that 
deserve particular and individual consideration, and 
may now and then become the dominant purpose of 
a lesson. Such are the correction of singsong read- 
ing, the use of the dictionary, the study of synonyms 
and antitheses, the comparisons and figures of speech, 
exercises in sight reading of unfamiliar selections, 
quotations from selections and masterpieces already 
read, study of the lives and works of authors. 

Reading is a many-sided study, and to approach 
its difficulties with success we must take them up one 
at a time, conquering them in detail. Good house- 
keepers and cooks are accustomed to lay out a series 
of dinners in which the chief article of diet is varied 
from day to day as follows : chicken pie with oysters, 
veal potpie, stewed fish, broiled beefsteak, venison 
roast, bean soup with ham, roast mutton, baked fish, 
broiled quail, roast beef, baked chicken with parsnips, 
etc. Such a series of dinners gives a healthy variety 
and relish. It is better for most people than the bill 
of fare at a large hotel, where there is so much 
variety and sameness each day. When we try each 
day to do everything in a reading lesson, we grasp 
more than our hands can hold, and most of it falls to 
the ground. Children are pleased and encouraged 
by actual progress in surmounting difficulties when 
they are presented one at a time, and opportunity is 
given for complete mastery. The children should 



CLASS-ROOM METHOD IN READING 125 

labor consciously and vigorously at one line of effort, 
be it distinctness or rhythm or emphasis or conversa- 
tional tone, till decided improvement and progress are 
attained, and the ease of right habit begins to show 
itself. Then we can turn to some new field, secur- 
ing and holding the vantage-ground of our foregoing 
effort by occasional reminders. 

9. One of the best tests applied to a reading class 
is their degree of class attention. The steadiness 
and responsiveness with which the whole class fol- 
low the work is a fair measure of successful teach- 
ing. To have but one child read at a time while the 
others wait their turn or scatter their thoughts, is 
very bad. It is a good sign of a teacher's skill and 
efficiency to see every child in energetic pursuit of 
the reading. It conduces to the best progress in 
that study and is the genesis of right mental habit. 

Attention is a sme qua 7ion to good teaching, and 
yet it is a result rather than a cause. It is a ripe 
fruit rather than the spring promise of it. The pro- 
visions which lead up to steady attention are deserv- 
ing of a teacher's study and patient scrutiny. She 
may command attention for a moment by sheer force 
of will and personality, but it must have something 
to feed upon the next moment and the next, or it will 
be wandering in distant fields. So great and indis- 
pensable is the value of attention, that some teachers 
try to secure it at too heavy a cost. They command, 
threaten, punish. They resort to severity and 



126 



SPECIAL METHOD OF CLASSICS 



cruelty. But the more formidable the teacher be- 
comes, the more difficult for a child to do his duty. 
Here, again, we can best afford to go back to the 
sources from which attention naturally springs, 
interesting subject of thought, vivid and concrete 
perceptions, lively and suggestive appeal to the im- 
agination, the sphere of noble thought and emotion, 
variety and movement in mental effort, a mutual 
sympathy and harmony between teacher and pupil. 

It is indeed well for the teacher to gauge his work 
by the kind and intensity of attention he can secure. 
If the class has dropped into slothful and habitual 
carelessness and inattention, he will have to give them 
a few severe jolts ; he must drop questions where 
they are least expected. He must be very alert to 
detect a listless child and wake him into action. The 
vigor, personal will, and keen watchfulness of the 
teacher must be a constant resource. On the other 
hand, let him look well to the thought, the feeling, 
and capacity of the children, and give them matter 
which is equal to their merits. 

It is not unusual to find the teacher's eye following 
the text closely instead of watching the class. But 
the teacher's eye should be moving alertly among the 
children. In case he has studied the lesson carefully, 
the teacher can detect almost every mistake without 
the book. In fact, even if one has not recently read 
a selection, he can usually detect a verbal error by 
the break or incoherency of the thought. Moreover, 



CLASS-ROOM METHOD IN READING \2*J 



the teacher can better judge the expressiveness of the 
reading by Hstening to it than by following the text 
with his eye. Depending wholly upon the ear, any 
defect of utterance or ineptness of expression is 
quickly detected. Even the children at times should 
be asked to close their books and to listen closely to 
the reading. This emphasizes the notion that good 
reading is the oral expression of thought, so that 
those who listen can understand and enjoy it. 

The treadmill style of reading, which repeats and 
repeats, doing the same things day by day, going 
through the like round of mechanical motions, should 
give way to a rational, spirited, variegated method 
which arouses interest and variety of thought, and 
moves ever toward a conscious goal. 

lo. In studying the masterpieces of great writers, 
a question arises how to treat the moral situations in- 
volved in the stories. In their revolt against exces- 
sive moralizing with children, some critics object to 
any direct teaching of moral ideas in connection with 
literature, being opposed to explicit discussions of 
moral notions. 

All will admit that literature, dealing as it does 
with human life, is surcharged with practical moral- 
ity, with social conduct. It is also the motive of great 
writers, while dealing honestly with human nature, to 
idealize and beautify their representations of men. 
Nor is it their purpose to make unworthy characters 
pleasing and attractive models. 



128 



SPECIAL METHOD OF CLASSICS 



It is expected, of course, that children will get 
clear notions and opinions of such persons as Miles 
Standish and John Alden, of Whittier's father and 
mother and others in the fireside circle of Snow- 
Bound," of Antonio and Shylock in the Merchant of 
Venice," of Cinderella and her sisters in the story, of 
Wallace and Bruce in Scott's Tales," of Gluck and 
his brothers in Ruskin's story, of Scrooge in the 
" Christmas Carol," of Evangeline, Enoch Arden, etc. 

But boys and girls are not infallible judges of 
character. They are apt to form erroneous or one- 
sided judgments from lack of insight into the author's 
meaning, or from carelessness. There is the same 
possibility of error in forming moral judgments as 
in forming judgments in other phases of an author's 
thought. 

It is the province of the teacher to stimulate the 
children to think, and, by his superior experience and 
judgment, to guide them into correct thinking. It 
is not the function of the teacher to impose his ready- 
made judgments upon children, either in morals or 
in anything else. But it is his concern, by questions, 
suggestions, and criticisms, to aid in clarifying the 
thought, to put the children upon the right track. 
There is no reason why a teacher should abdicate his 
place of instructor because he chances to come be- 
fore moral problems. Literature is full of moral 
situations, moral problems, and moral evolutions in 
character, and even of moral ideals. Is the teacher 



CLASS-ROOM METHOD IN READING 1 29 



to stand dumb before these things as if he had lost 
his wits ? Or is he to consider it the greatest oppor- 
tunity of his life to prudently guide young people 
to the correct perception of what is beautiful and 
true in human life ? Why, indeed, should he sup- 
press his own enthusiasm for these ideals? Why 
should not his personality be free to express itself 
in matters of moral concern, as well as in intellectual 
and aesthetic judgments ? So long as the teacher 
throws the pupils back upon their own self-activity 
and thinking power, there need be no danger of 
moral pedantry or of moral dyspepsia. 

It seems to me, therefore, that the teacher should 
use freedom and boldness in discussing with the 
children candidly and thoughtfully the characters 
presented in good literature. Let the situations be 
made clear so that correct judgments of single acts 
can be formed. Let the weaknesses and virtues of 
the persons be noted. Let motives be studied and 
characteristic tendencies traced out. In this way 
children may gradually increase their insight and 
enlarge the range of their knowledge of social life. 
If these things are not legitimate, why should such 
materials be presented to children at all ? We need 
not make premature moralists of children, or teach 
them to pass easy or flippant moral judgments upon 
others. But we wish their interest in these charac- 
ters to be deep and genuine, their eyes wide open 
to the truths of life, and their intuitive moral judg- 

K 



130 SPECIAL METHOD OF CLASSICS 

ments to ripen in a healthy and hearty social environ- 
ment. To this end the teacher will need to use all 
his skill in questioning, in suggestion, in frank and 
candid discussion. In short, he needs just those 
qualities which a first-class teacher needs in any 
field of study. 

We have gotten out of the mode of tacking a 
moral to a story. Ostensibly moral stories, over- 
weighted with a moral purpose, do not please us. 
We wish novelists and dramatists to give us the 
truth of life, and leave us to pass judgment upon 
the characters. Our best literature presents great 
variety of scenes and characterizations in their 
natural setting in life. They specially cultivate 
moral judgment and insight. One of the ultimate 
standards which we apply to all novels and dramas 
is that of their fundamental moral truth. Schlegel, 
in his Dramatic Art and Literature," in his criti- 
cisms of great writers, discusses again and again 
the moral import of the characters, and even the 
moral purpose of Shakespeare and the dramatists. 
In fact, these moral considerations lie deep and fun- 
damental in judging the great works of literary art. 
The masterpieces we use in the schools bear the 
same relation to the children that the more difficult 
works bear to adults. 

The clear discussion of the moral element in litera- 
ture seems, therefore, natural and legitimate, while 
its neglect and obscuration would be a fatal defect. 



CLASS-ROOM METHOD IN READING I3I 



II. There are two kinds of reading which should 
be cultivated in reading lessons, although they seem 
to fall a little apart from the main highway of effort. 
They are, first, sight reading of supplementary matter 
for the purpose of cultivating a quick and accurate 
grasp of new thought and forms. When we leave 
school, one of the values of reading will be the power 
it gives to interpret quickly and grasp firmly the 
ideas as they present themselves in the magazines, 
papers, and books we read. Good efforts in school 
reading will lead forward gradually to that readiness 
of thought and fluency of perception which will give 
freedom and mastery of new reading matter. To 
develop this ability and to regulate it into habit, we 
must give children a chance to read quite a little 
at sight. We need supplementary readers in sets 
which can be put into the hands of children for this 
purpose. The same books will answer for several 
classes, and may be passed from room to room of 
similar grade. 

The reading matter we select for this purpose 
may be classic, and of the best quality, just as well 
as to be limited to information and geographical 
readers which are much inferior. There are first- 
class books of literary merit, which are entirely ser- 
viceable for this purpose and much richer in culture. 
They continue the line of study in classic literature, 
and give ground for suggestive comparisons and 
reviews which should not be neglected. There is 



132 



SPECIAL METHOD OF CLASSICS 



a strong tendency in our time to put inferior reading 
matter, in the form of information readers, science 
primers, short history stories, geographical readers, 
newspapers, and specially prepared topics on current 
events, into reading classes. These things may do 
well enough in their proper place in geography, his- 
tory, natural science, or general lessons, but they 
should appear scarcely at all in reading lessons. 
Preserve the reading hour for that which is choicest 
in our prose and verse, mainly in the form of shorter 
or longer masterpieces of literature. 

Secondly, many books should be brought to the 
attention of the children which they may read outside 
of school. The regular reading exercises should give 
the children a lively and attractive introduction to some 
of the best authors, and a taste for the strength and 
beauty of their productions. But the field of litera- 
ture is so wide and varied that many things can only 
be suggested, which will remain for the future leisure 
and choice of readers. Children might, however, 
be made acquainted with some of the best books 
suited to their age for which there is not school time. 
Many of the best books, like " Ivanhoe,'' **Quentin 
Durward,'* Captains Courageous," " Swiss Family 
Robinson,'' and Nicholas Nickleby," cannot be read 
in school. They should be in the school library, and 
the teacher should often refer to them and to others 
suggested by the regular reading, which give deeper 
and wider views into life. 



CLASS-ROOM METHOD IN READING 



12. In the use of the symbols and language forms 
of reading, the children should be led on to freedom 
and self -activity. How to get the mastery of 
these forms in the early reading work is discussed 
in the " Special Method in Primary Reading and 
Story.'^ 

In the fourth and fifth years of school, children 
should learn to use the dictionary. It is a great 
means of self-help when they have learned to inter- 
pret the dictionary easily. But special lessons are 
necessary to teach children : first, how to find words 
in the dictionary ; second, how to interpret the 
diacritical markings so as to get a correct pronuncia- 
tion; and third, how to discriminate among definitions. 
Adults and even teachers are often deficient in these 
particulars, and children will not form habits of using 
the dictionary with quick and easy confidence with- 
out continuous, attentive care on the teacher's part. 
The best outcome of such training is the conscious 
power of the child to help himself, and there is 
nothing in school work more deserving of encourage- 
ment. 

The system of diacritical markings used in the 
dictionary should be put on the blackboard, varied 
illustrations of the markings given, and the applica- 
tion of these markings to new words in the dictionary 
discovered. Lack of success in this work is chiefly 
due to a failure to pursue this plan steadily till ease 
and mastery are gained and habits formed. 



134 



SPECIAL METHOD OF CLASSICS 



In the later grades these habits of self-help should 
be kept up and extended further to the study of 
synonyms, root words and their kindred, homonyms, 
prefixes and suffixes, and the derived meanings of 
words. 



CHAPTER V 



METHOD FURTHER DISCUSSED AND ILLUSTRATED. 
SUMMARY 

In the following chapter some phases of method 
not fully treated before will be discussed and illus- 
trated. 

I. The proposal to treat literary masterpieces as 
units of thought implies a searching study and sifting 
out of the essential idea in each poem or selection. 
In some, both of the longer and shorter pieces, it is 
not difficult to detect the motive. In Bryant's " Ode 
to a Waterfowl," it is even suggested as a sort of 
moral at the close. Likewise in the Pied Piper of 
Hamelin," and in Burns's Tam O'Shanter." In 
Glaucis and Philemon," as well as in **The Golden 
Touch," even a child can quickly discern the con- 
trolling idea of the myth. But in many of our 
choicest literary products it requires deliberate 
thought to discover the poet's deeper meaning, 
especially that idea which binds all the parts together 
and gives unity to the whole. In Lowell's address 
"To the Dandelion," we may find in each stanza the 
gleam of the golden thread which unifies the whole. 
The first lines suggest it : — 

135 



136 



SPECIAL METHOD OF CLASSICS 



" Dear common flower, that grow'st beside the way, 
Fringing the dusty road with harmless gold/' 

And again in the second stanza : — 

" 'Tis the Spring's largess which she scatters now 
To rich and poor alike, with lavish hand." 

In the succeeding stanzas he calls to mind how the 
dandelion suggests the riches of the tropics, the full 
promise of summer, the pure joys of childhood, the 
common loving courtesies of life, the rich love and 
prodigality of nature, and the divinity in every human 
heart. 

When by reflection we bind all these thoughts 
together, and find that they focus in the idea that 
the best riches abound and even burst forth out of 
common things and from the hearts of common men 
and women, we realize that the poet has brought 
us to the point of discovering a deep and practical 
truth, which, put to work in the world, would bring 
rhythm and harmony into human life. 

But such a deep impression is not made by a 
superficial or fragmental study of the poem. 

A somewhat similar result may be wrought out 
by the study of Lowell's poem, ''An Incident in a 
Railroad Car," and the idea is well expressed in the 
verse : — 

" Never did poesy appear 
So fall of heaven to me as when 
I saw how it would pierce through pride and fear 
To lives of coarsest men." 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 1 37 

The study of a poem or other masterpiece in this 
way, to get at its inner life and continuity, reveals to 
us an interesting process of mental elaboration and 
comparative thought. Such self-active reflection is 
the subsoiling of the mind. 

To set children to work upon problems of this 
sort, to put them in the way of thinking and feeling 
for themselves, and that too even in the longer clas- 
sics like " Evangeline,'' Enoch Arden,*' " Silas 
Marner,'' etc., is to bring such studies into the 
realm of great culture-producing agencies. 

Many minor questions of method will be solved by 
having these centres of thought, these problems for 
thinkers. Teachers are bothered to know what sort 
of questions to ask. It would be safe to say, those 
questions which move in the direction of the main 
truth, toward the solution of the chief problem. 
But let the questions be shrewd, not revealing too 
much, stimulating to thoughtfulness and heading 
off errors. To what extent shall geographical, 
historical, or biographical facts be gathered for the 
enrichment and clarifying of the poem ? Those 
materials which throw necessary light on the essen- 
tial ideas, omitting what is irrelevant and secondary. 

A careful study of the life of Alexander, by 
Plutarch, will bring to light, more than anything 
else, his magnanimity. The thing that so much 
distinguished him from other men was his large, 
liberal temper, displayed on many various occasions. 



138 SPECIAL METHOD OF CLASSICS 

It reminds the mature student of that remarkable 
utterance of Burke, ''Great affairs and little minds 
go ill together." The large-minded statesmanship 
with which Burke discusses conciliation with the 
colonies is of like quality with this magnanimous 
spirit of Alexander. 

One who reads receptively Emerson's ''The For- 
tune of the Republic " will open his eyes on two 
opposite but closely related ideas, the serious faults, — 
the low political tone, the materiaHsm, the spread- 
eagle strut and slovenly mediocrity of much in Ameri- 
can life, — and over against this the splendid promise, 
manliness, and intense idealism of our national life. 
To work out this conception in the brains of young 
people and let it kindle their hearts with some true 
glow of patriotism, is the highest form of teaching. 
Such instruction would convert every schoolhouse 
into a true temple of freedom and patriotism. 

But in order to reach these results both teachers 
and pupils must put their minds to the stretch of 
earnest work. In the introduction to the above- 
named essay of Emerson, in the " Riverside Litera- 
ture Series," occurs the following interesting and 
suggestive passage : " Yet many of his most notable 
addresses were given before audiences of young men 
and women, and out of the great body of his writings 
it is not difficult to find many passages which go 
straight to the intelligence of boys and girls in 
school The plan of this series forbids the use of 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 1 39 

extracts, or many numbers might be filled with strik- 
ing and appropriate passages from Emerson's writ- 
ings ; but there are certain essays and addresses 
which, though they may contain some knotty sen- 
tences, are in the main so interesting to boys and 
girls who have begun to think, they are so inspiring 
and yield so much to any one who will take a little 
trouble to use his mind, that it is obviously desirable 
to bring them in convenient form to the attention 
of schools. Some of the best things in literature we 
can get only by digging for them ; and there is great 
satisfaction in reading again and again masterpieces 
like the essays in this collection, with a fresh 
pleasure in each reading as new ideas spring up in 
the mind of the attentive reader/' 

It will be a day rich in promise and fruitful of 
great things when the general body of our teachers 
take hold of our great American classics in this 
determined spirit, treating them as wholes and grasp- 
ing firmly the essential fundamental ideas. 

2. It is in the thought-analysis of a reading lesson 
that a teacher's wit and wisdom are brought to the 
severest test. The words of Shakespeare may be 
applied to the teacher : — 

" A prince most prudent, of an excellent 
And unmatched wit and judgment." 

There is much danger of wasting time in formal 
questions, questions striking no spark of interest, 



140 SPECIAL METHOD OF CLASSICS 

questions on familiar words that really need no 
elucidation, vague and unpremeditated questions that 
make no forward step. Simple, far-reaching ques- 
tions, which touch the pupils' deeper thoughtfulness 
in preparing the lesson and stimulate his self-active 
effort, are needed. If the teacher has become keenly 
interested, he will ask more telling questions. If he 
has probed into the author's secret, — the thing which 
he has been hinting at and only gives occasional 
glimpses of to whet your curiosity, — he will dis- 
cover that thought-getting is almost a tantalizing 
process with great writers. The teacher must spur 
and almost tantalize the children with a similar 
shrewdness of question. 

Problem-raising questions, involving thoughtful 
retrospect and shrewd anticipation, questions which 
cannot be answered offhand but lead on to a deeper 
study, are at a premium. Ruskin says : — 

And, therefore, first of all, I tell you earnestly 
and authoritatively (I know I am right in this), you 
must get into the habit of looking intensely at 
words and assuring yourself of their meaning, syl- 
lable by syllable, — nay, letter by letter." Again 
he says, of a well-educated gentleman, that above 
all he is learned in the peerage of words ; knows 
the words of true descent and ancient blood at a 
glance from words of modern canaille." 

In order to make his thought unmistakable, I 
quote at length a passage from Ruskin's Sesame 
and Lilies " : — 



METHOD FURTHER DISCUSSED AND ILLUSTRATED I4I 

And now, merely for example's sake, I, will, with 
your permission, read a few lines of a true book with 
you, carefully ; and see what will come out of them. 
I will take a book perfectly known to you all ; no 
English words are more familiar to us, yet nothing 
perhaps has been less read with sincerity. I will 
take these few following lines of * Lycidas ' : — 

" ^ Last came, and last did go, 
The pilot of the Galilean lake ; 
Two massy keys he bore of metals twain, 
(The golden opes, the iron shuts amain), 
He shook his mitred locks, and stern bespake, 
How well could I have sparM for thee, young swain, 
Enow of such as for their bellies' sake 
Creep and intrude, and climb into the fold : 
Of other care they little reckoning make, 
Than how to scramble at the shearers' feast, 
And shove away the worthy bidden guest ; 
Blind mouths ! that scarce themselves know how to hold 
A sheep-hook, or have learned aught else, the least 
That to the faithful herdsman's art belongs ! 
What recks it them ? What need they? They are sped; 
And when they list, their lean and flashy songs 
Grate on their scrannel pipes of wretched straw ; 
The hungry sheep look up, and are not fed, 
But, swoln with wind, and the rank mist they draw, 
Rot inwardly, and foul contagion spread ; 
Besides what the grim wolf with privy paw 
Daily devours apace, and nothing said.' 

" Let us think over this passage, and examine its 
words. 

First, is it not singular to find Milton assigning 



142 SPECIAL METHOD OF CLASSICS 

to St. Peter, not only his full episcopal function, 
but the very types of it which Protestants usually 
refuse most passionately? His * mitred' locks! Mil- 
ton was no Bishop-lover ; how comes St. Peter to be 
* mitred ' ? * Two massy keys he bore.' Is this, 
then, the power of the keys claimed by the Bishops 
of Rome, and is it acknowledged here by Milton 
only in a poetical license, for the sake of its pictur- 
esqueness; that he may get the gleam of the golden 
keys to help his effect.? Do not think it. Great 
men do not play stage tricks with doctrines of 
life and death : only little men do that. Milton 
means what he says ; and means it with his might, 
too, — is going to put the whole strength of his 
spirit presently into the saying of it. For though 
not a lover of false bishops, he was a lover of true 
ones ; and the lake-pilot is here, in his thoughts, 
the type and head of true episcopal power. For 
Milton reads that text, * I will give unto thee the 
keys of the kingdom of Heaven,' quite honestly. 
Puritan though he be, he would not blot it out of 
the book because there have been bad bishops ; 
nay, in order to understand him, we must understand 
that verse first ; it will not do to eye it askance, 
or whisper it under our breath, as if it were a 
weapon of an adverse sect. It is a solemn, uni- 
versal assertion, deeply to be kept in mind by all 
sects. But perhaps we shall be better able to reason 
on it if we go on a little farther, and come back to it. 



METHOD FURTHER DISCUSSED AND ILLUSTRATED I43 

For clearly, this marked insistence on the power of 
the true episcopate is to make us feel more weightily 
what is to be charged against the false claimants 
of episcopate ; or generally, against false claimants 
of power and rank in the body of the clergy ; they 
who, * for their bellies' sake, creep, and intrude, and 
climb into the fold/ 

" Do not think Milton uses those three words 
to fill up his verse, as a loose writer would. He 
needs all the three; specially those three, and no 
more than those — 'creep,' and 'intrude,' and 
* climb ' ; no other words would or could serve the 
turn, and no more could be added. For they 
exhaustively comprehend the three classes, corre- 
spondent to the three characters, of men who dis- 
honestly seek ecclesiastical power. First, those 
who ' creep ' into the fold ; who do not care for 
office, nor name, but for secret influence, and do 
all things occultly and cunningly, consenting to 
any servility of offixe or conduct, so only that 
they may intimately discern, and unawares direct 
the minds of men. Then those who ' intrude ' 
(thrust, that is) themselves into the fold, who by 
natural insolence of heart, and stout eloquence of 
tongue, and fearlessly perseverant self-assertion, 
obtain hearing and authority with the common 
crowd. Lastly, those who ' climb,' who by labor 
and learning, both stout and sound, but selfishly 
exerted in the cause of their own ambition, gain high 



144 



SPECIAL METHOD OF CLASSICS 



dignities and authorities, and become * lords over 
the heritage/ though not ' ensamples to the flock.' 
Now go on : — 

" ' Of other care they little reckoning make, 
Than how to scramble at the shearers' feast. 
Blind mouths — ' 

" I pause again, for this is a strange expression ; 
a broken metaphor, one might think, careless and 
unscholarly. 

Not so : its very audacity and pithiness are in- 
tended to make us look close at the phrase and 
remember it. Those two monosyllables express 
the precisely accurate contraries of right character, 
in the two great offices of the Church — those of 
bishop and pastor. 

" A Bishop means a person who sees. 

" A Pastor means one who feeds. 
The most unbishoply character a man can have 
is therefore to be Blind. 

" The most unpastoral is, instead of feeding, to 
want to be fed, — to be a Mouth. 

" Take the two reverses together, and you have 
'blind mouths.' We may advisably follow out this 
idea a little. Nearly all the evils in the Church 
have arisen from bishops desiring power more than 
light. They want authority, not outlook. Whereas 
their real office is not to rule ; though it may be 
vigorously to exhort and rebuke; it is the king's 



METHOD FURTHER DISCUSSED AND ILLUSTRATED I45 

office to rule ; the bishop's office is to oversee the 
flock ; to number it, sheep by sheep ; to be ready- 
always to give full account of it. Now it is clear 
he cannot give account of the souls, if he has not 
so much as numbered the bodies of his flock. The 
first thing, therefore, that a bishop has to do is at 
least to put himself in a position in which, at any 
moment, he can obtain the history from childhood 
of every living soul in his diocese, and of its pres- 
ent state. Down in that back street. Bill, and 
Nancy, knocking each other's teeth out ! — Does the 
bishop know all about it ? Has he his eye upon 
them ? Has he had his eye upon them ? Can 
he circumstantially explain to us how Bill got 
into the habit of beating Nancy about the head ? 
If he cannot, he is no bishop, though he had a 
mitre as high as Salisbury steeple ; he is no bishop, 
— he has sought to be at the helm instead of 
the masthead ; he has no sight of things. * Nay,' 
you say, it is not his duty to look after Bill in the 
back street. What ! the fat sheep that have full 
fleeces — you think it is only those he should look 
after, while (go back to your Milton) * the hungry 
sheep look up, and are not fed, besides what the 
grim wolf with privy paw ' (bishops knowing noth- 
ing about it) * daily devours apace, and nothing said ' ? 

" * But that's not our idea of a bishop.' Perhaps 
not ; but it was St. Paul's ; and it was Milton's. 
They may be right, or we may be; but we must 



146 SPECIAL METHOD OF CLASSICS 

not think we are reading either one or the other by 
putting our meaning into their words. 
I go on. 

" ' But, swolln with \vind, and the rank mist they draw.' 

'*This is to meet the vulgar answer that 'if the 
poor are not looked after in their bodies, they are in 
their souls; they have spiritual food.' 

" And Milton says, ' They have no such thing as 
spiritual food; they are only swolln w^ith wind.' 
At first you may think that is a coarse type, and 
an obscure one. But, again, it is a quite literally 
accurate one. Take up your Latin and Greek dic- 
tionaries, and find out the meaning of * Spirit.' It 
is only a contraction of the Latin word 'breath,' 
and an indistinct translation of the Greek word for 
'wind.' The same word is used in writing. 'The 
wind bloweth where it listeth ; ' and * So is every 
one that is born of the Spirit,' born of the breath, 
that is, for it means the breath of God, in soul 
and body. We have the true sense of it in our 
words 'inspiration' and 'expire.' Now, there are 
two kinds of breath with which the flock may be 
filled ; God's breath and man's. The breath of God 
is health and Hfe and peace to them, as the air 
of heaven is to the flocks on the hills ; but man's 
breath — the word he calls spiritual — is disease and 
contagion to them, as the fog of the fen. They rot 
inwardly with it ; they are puffed up by it, as a body 



METHOD FURTHER DISCUSSED AND ILLUSTRATED I47 

by the vapors of its own decomposition. This is 
literally true of all false religious teaching ; the first 
and last and fatalest sign of it is that ' puffing up/ 

Lastly, let us return to the lines respecting the 
power of the keys, for now we can understand them. 
Note the difference between Milton and Dante in 
their interpretation of this power ; for once the latter 
is weaker in thought ; he supposes both the keys to 
be of the gate of heaven ; one is of gold, the other of 
silver ; they are given by St. Peter to the sentinel angel, 
and it is not easy to determine the meaning either of 
the substances of the three steps of the gate or of 
the two keys. But Milton makes one, of gold, the key 
of heaven ; the other, of iron, the key of the prison, 
in which the wicked teachers are to be bound who 
^ have taken away the key of knowledge, yet entered 
not in themselves.' 

*^We have seen that the duties of bishop and 
pastor are to see and feed, and, of all who do so, 
it is said, ' He that watereth, shall be watered also 
himself.' But the reverse is truth also. He that 
watereth not, shall be withered himself, and he that 
seeth not, shall himself be shut out of sight, — shut 
into the perpetual prison house. And that prison 
opens here as well as hereafter; he who is to be 
bound in heaven must first be bound on earth. That 
command to the strong angels, of which the rock- 
apostle is the image, * Take him, and bind him hand 
and foot, and cast him out,' issues, in its measure, 



148 SPECIAL METHOD OF CLASSICS 

against the teacher for every help withheld, and for 
every truth refused, and for every falsehood enforced ; 
so that he is more strictly fettered the more he fetters, 
and further outcast as he more and more misleads, 
till at last the bars of the iron cage close upon him, 
and as *the golden opes, the iron shuts amain/ 

We have got something out of the lines, I think, 
and much more is yet to be found in them ; but we 
have done enough by way of example of the kind of 
word-by-word examination of your author which is 
rightly called 'reading,' watching every accent and 
expression, and putting ourselves always in the author's 
place, annihilating our own personality, and seeking 
to enter into his, so as to be able assuredly to say, 
* Thus Milton thought,' not * Thus I thought, in mis- 
reading Milton.' " 

3. In reading successive poems and prose selections 
from different authors, strong resemblances in thought 
or language are frequently detected. It is a thought- 
provoking process to bring such similar passages to 
a definite comparison. Even where the same topic 
is treated differently by two authors, the different 
or contrasted points of view are suggestive. Calling 
such familiar passages to mind is in itself a good 
practice, and it is well to cultivate this mode of 
turning previous knowledge into use. 

To illustrate this point, let us call to mind some 
familiar passages, touching the winter snow-storm 
and the fireside comforts, from Whittier, Emerson, 
and Lowell. 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 1 49 

Whittier's description of a snow-storm in " Snow- 
Bound " is well known : — 

" Unwarmed by any sunset light 
The gray day darkened into night, 
A night made hoary with the swarm 
And whirl-dance of the bhnding storm, 
As zigzag wavering to and fro 
Crossed and recrossed the winged snow : 
And ere the early bedtime came 
The white drift piled the window-frame, 
And through the glass the clothes-line posts 
Looked in like tall and sheeted ghosts. 

" So all night long the storm roared on : 
The morning broke without a sun ; 
In tiny spherule traced with lines 
Of Nature's geometric signs, 
In starry flake and pellicle 
All day the hoary meteor fell ; 
And, when the second morning shone, 
We looked upon a world unknown, 
On nothing we could call our own. 
Around the glistening wonder bent 
The blue walls of the firmament. 
No cloud above, no earth below, — 
A universe of sky and snow ! 
The old familiar sights of ours 

Took marvellous shapes ; strange domes and towers 

Rose up where sty or corn-crib stood. 

Or garden-wall, or belt of wood ; 

A smooth white mound the brush-pile showed, 

A fenceless drift what once was road ; 

The bridle-post an old man sat 

With loose-flung coat and high cocked hat ; 

The w^ell-curb had a Chinese roof ; 



SPECIAL METHOD OF CLASSICS 



And even the long sweep^ high aloof, 
In its slant splendor, seemed to tell 
Of Pisa's leaning miracle/' 

Again the fireside joy is expressed : — 

^' Shut in from all the world \Yithout, 
We sat the clean-winged hearth about, 
Content to let the north-wind roar 
In baffled rage at pane and door. 
While the red logs before us beat 
The frost-line back with tropic heat ; 
And even when a louder blast 
Shook beam and rafter as it passed, 
' The merrier up its roaring draught 

The great throat of the chimney laughed, 
The house-dog on his paws outspread 
Laid to the fire his drowsy head, 
The cat's dark silhouette on the wall 
A couchant tiger's seemed to fall : 
And. for the winter fireside meet, 
Between the andirons' straddling feet, 
The mug of cider simmered slow, 
The apples sputtered in a row, 
And. close at hand, the basket stood 
With nuts from brown October's wood. 

What matter how the nis^ht behaved? 

What matter how the north-wind raved? ^ 

Blow high, blow low, not all its sno^ . 

Could quench our hearth-fire's ruddy glow." 

If these passages and others in Snow-Bound " 
are familiar to the children in pre\dous study, the 
reading of Emerson's ''The Snow-Storm," might set 



METHOD FURTHER DISCUSSED AND ILLUSTRATED I5I 

them to recalling a whole series of pictures from 
Whittier : — 

" Announced by all the trumpets of the sky, 
Arrives the snow, and, driving o'er the fields, 
Seems nowhere to alight : the whited air 
Hides hills and woods, the river, and the heaven. 
And veils the farmhouse at the garden's end. 
The sled and traveller stopped, the courier's feet 
Delayed, all friends shut out, the housemates sit 
Around the radiant fireplace, enclosed 
In a tumultuous privacy of storm. 

Come see the north wind's masonry. 
Out of an unseen quarry evermore, 
Furnished with tile, the fierce artificer 
Curves his white bastions with projected roof 
Round every windward stake, or tree, or door. 
Speeding, the myriad-handed, his wild work 
So fancifiil, so savage, nought cares he 
For number or proportion. Mockingly, 
On coop or kennel he hangs Parian wreaths ; 
A swan-like form invests the hidden thorn ; 
Fills up the farmer's lane from wall to wall, 
Maugre the farmer's sighs ; and at the gate 
A tapering turret overtops the work. 
And when his hours are numbered, and the world 
Is all his own, retiring, as he were not. 
Leaves, when the sun appears, astonished Art 
To mimic in slow structures, stone by stone, 
Built in an age, the mad wind's night-work, 
The frolic architecture of the snow." 

The architecture of the snow can be compared 
point by point in both authors, in the objects about 



152 SPECIAL METHOD OF CLASSICS 



the farmhouse, while the picture of the snug com- 
forts of the fireplace is in both. 

Of a somewhat different, yet closely related, char- 
acter is the description in the Prelude to Part Sec- 
ond, in the Vision of Sir Launfal" : — 

" Down swept the chill wind from the mountain peak, 
From the snow five thousand summers old ; 

On open wold and hill-top bleak 
It had gathered all the cold, 

And whirled it like sleet on the wanderer's cheek ; 

It carried a shiver everywhere 

From the unleafed boughs and pastures bare ; 

The little brook heard it and built a roof 

'Neath which he could house him, winter-proof ; 

All night by the white stars' frosty gleams 

He groined his arches and matched his beams ; 

Slender and clear were his crystal spars 

As the lashes of light that trim the stars ; 

He sculptured every summer dehght 

In his halls and chambers out of sight ; 

Sometimes his tinkling waters slipt 

Down through a frost-leaved forest-crypt, 

Long, sparkling aisles of steel-stemmed trees 

Bending to counterfeit a breeze ; 

Sometimes the roof no fretwork knew 

But silvery mosses that downward grew ; 

Sometimes it was carved in sharp relief 

With quaint arabesques of ice-fern leaf ; 

Sometimes it was simply smooth and clear 

For the gladness of heaven to shine through, and here 

He had caught the nodding bulrush-tops 

And hung them thickly with diamond drops. 

Which crystalled the beams of moon and sun, 

And made a star of every one : 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 1 53 

No mortal builder's most rare device 
Could match this winter-palace of ice ; 
'Twas as if every image that mirrored lay 
In his depths serene through the summer day, 
Each flitting shadow of earth and sky, 

Lest the happy model should be lost, 
Had been mimicked in fairy masonry 

By the elfin builders of the frost. 

^ Within the hall are the song and laughter, 

The cheeks of Christmas glow red and jolly, 
And sprouting is every corbel and rafter 

With the lightsome green of ivy and holly ; 
Through the deep gulf of the chimney wide 
Wallows the Yule-log's roaring tide ; 
The broad flame-pennons droop and flap 

And belly and tug as a flag in the wind ; 
Like a locust shrills the imprisoned sap, 

Hunted to death in its galleries blind ; 
And swift little troops of silent sparks. 

Now pausing, now scattering away as in fear, 
Go threading the soot-forest's tangled darks 

Like herds of startled deer." 

The elfin builders of the frost have raised even 
more delicate structures than the snow. The descrip- 
tive power of the poets in picturing nature's handi- 
work cannot be better seen than in these passages. 
It is hardly worth while to suggest the points of 
resemblance which children will quickly detect in 
these passages, as the comparison of — 

" Through the deep gulf of the chimney wide 
Wallows the Yule-log's roaring tide,'' 



154 



SPECIAL METHOD OF CLASSICS 



with this, — 

" The merrier up its roaring draught 
The great throat of the chimney laughed." 

Such passages, suggesting like thoughts in earlier 
studies, are very frequent and spring up in unex- 
pected quarters. 

For example, Emerson, in " Waldeinsamkeit," 
says : — 

" I do not count the hours I spend 
In wandering by the sea ; 
The forest is my loyal friend, 
Like God it useth me.-' 

Again, in the "Apology," he says : — 

" Think me not unkind and rude 

That I walk alone in grove and glen ; 
I go to the god of the wood 
To fetch his word to men." 

And Lowell, in "The Bobolink" : — 

As long, long years ago I wandered, 
I seem to wander even yet. 
The hours the idle schoolboy squandered, 
The man would die ere he'd forget. 

hours that frosty eld deemed wasted, 
Nodding his gray head toward my books, 

1 dearer prize the lore I tasted 

With you, among the trees and brooks, 
Than all that I have gained since then 
From learned books or study-withered men." 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 1 55 

And Whittier says : — 

" Our uncle, innocent of books, 
Was rich in lore of fields and brooks, 
The ancient teachers never dumb 
Of Nature's unhoused lyceum." 

It would not be difficult to recall other passages 
from Bryant, Shakespeare, Byron, and many others, 
expressing this love of solitude in woods or on the 
seashore, and the wisdom to be gained from such 
communion with nature. This active retrospect to 
gather up kindred thoughts out of previous studies 
and mingle th^m with the newer influx of radiant 
ideas from master minds is a fruitful mode of assim- 
ilating and compounding knowledge. It may be 
advisable at times for the teacher to bring together 
a few additional passages from still wider sources, 
expressive of a thought kindred to that worked out 
in the class. Such study leads to a self-reliant, en- 
thusiastic companionship with the thoughts of great 
men, and is most profitable. 

4. There is a pronounced value in dramatic repre- 
sentation of literary selections. The impersonating 
of characters gives an intensity and realism to the 
thought that cannot be effected in any other way. 
In some cases it is possible to provide a stage and 
some degree of costuming, to lend more complete 
realization of the scenes. 

In favor of such dramatic efforts it may be said 
that children, even in the earlier grades, are naturally 



156 



SPECIAL METHOD OF CLASSICS 



dramatic, and enjoy greatly both seeing and partici- 
pating in them. It gives scope to their natural ten- 
dency toward action, rather than repose, and proper 
verbal expression is more easily secured in conjunc- 
tion with action than without it. In this connection 
it may be said that acting lends greater freedom and 
spontaneity to the reading. 

Schlegel, in his description of dramatic art, says : — 
Even in a lively oral narration, it is not unusual 
to introduce persons in conversation with each other, 
and to give a corresponding variety to the tone and the 
expression. But the gaps, which these conversations 
leave in the story, the narrator fills up in his own 
name with a description of the accompanying circum- 
stances, and other particulars. The dramatic poet 
must renounce all such expedients ; but for this he is 
richly recompensed in the following invention. He 
requires each of the characters in his story to be per- 
sonated by a living individual; that this individual 
should, in sex, age, and figure, meet as near as may 
be the prevalent conceptions of his fictitious original, 
nay, assume his entire personaUty ; that every speech 
should be delivered in a suitable tone of voice, and 
accompanied by appropriate action and gesture; 
and that those external circumstances should be 
added which are necessary to give the hearers a 
clear idea of what is going forward. Moreover, these 
representatives of the creatures of his imagination 
must appear in the costume belonging to their as- 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 1 57 

sumed rank, and to their age and country ; partly for 
the sake of greater resemblance, and partly because, 
even in dress, there is something characteristic. 
Lastly, he must see them placed in a locality which, 
in some degree, resembles that where, according to 
his fable, the action took place, because this also con- 
tributes to the resemblance : he places them, i.e.^ on a 
scene. All this brings us to the idea of the theatre. 
It is evident that the very form of dramatic poetry, 
that is, the exhibition of an action by dialogue with- 
out the aid of narrative, implies the theatre as its 
necessary complement/' 

" The invention of dramatic art, and of the theatre, 
seems a very obvious and natural one. Man has a 
great disposition to mimicry ; when he enters vividly 
into the situation, sentiments, and passions of others, 
he involuntarily puts on a resemblance to them in 
his gestures. Children are perpetually going out of 
themselves ; it is one of their chief amusements to 
represent those grown people whom they have had 
an opportunity of observing, or whatever strikes their 
fancy ; and with the happy pliancy of their imagina- 
tion, they can exhibit all the characteristics of any 
dignity they may choose to assume, be it that of a 
father, a schoolmaster, or a king.'' 

In his book, Imagination and Dramatic Instinct,'* 
S. S. Curry says: — 

"Since dramatic instinct is so important, the 
question naturally arises respecting the use of dia- 



IS8 SPECIAL METHOD OF CLASSICS 

logues for its education. There are those who think 
that all histrionic art is useless ; that it is even delete- 
rious to character to assume a part 

" The best answer to this is the study of the little 
child. The very first means a child adopts to get out 
of itself, or to realize the great world about it, is by 
dramatic action and instinct. No child was ever born 
with any mind at all, that had not some of this in- 
stinct; and the more promising the child, the more 
is it dramatic and imaginative. Dramatic instinct is 
universal. It is the secret of all success ; it is the in- 
stinct by which man sees things from different points 
of view, by which he realizes the ideal in character in 
contrast to that which is not ideal." 

" Professor Monroe was once asked by a clergyman 
for private lessons. He told him that was impossible. 
* Well, ' said the minister, ' what can I do then ? ' 
' Go home and read Shakespeare dramatically. ' 
Why was such advice given ? Because the struggle to 
read Shakespeare would get the minister out of him- 
self. The struggle to realize how men of different 
types of character would speak certain things would 
make him conscious whether he, himself, spoke natu- 
rally. He would, in short, become aware of his 
mannerisms, of his narrow gamut of emotions, his 
sameness of point of view ; he would be brought into 
direct contact with the process of his own mind in 
thinking.'' 

The supreme value of a vivid and versatile imagi- 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 1 59 

nation in giving full and rich development to the whole 
mind is now a vital part of our confession of faith. 
The question is how to cultivate such a resourceful 
imagination. The literature of the creative imagi- 
nation is felt to be the chief means, and the dramatic 
instinct toward interpreting, assimilating and express- 
ing human thought and feeling opens the avenue of 
growth. 

Dr. Curry says : — 

" Dramatic instinct should be trained because it is 
a part of the imagination, because it gives us practical 
steps toward the development of the imagination, 
because it is the means of securing discipline and 
power over feeling. Dramatic instinct should be 
trained because it is the insight of one mind into an- 
other. The man who has killed his dramatic instinct 
has become unsympathetic, and can never appreciate 
any one's point of view but his own. Dramatic 
instinct endows us with broad conceptions of the 
idiosyncrasies, beliefs, and convictions of men. It 
trains us to unconscious reasoning, to a deep insight 
into the motives of man. It is universally felt that 
one's power to * other himself ' is the measure of the 
greatness of his personality. All sympathy, all 
union of ourselves with the ideals and struggles of 
our race, are traceable to imagination and dramatic 
instinct." 

He further emphasizes the idea that dramatic in- 
stinct has two elements — imagination and sympathy. 



l60 SPECIAL METHOD OF CLASSICS 

Imagination affords insight into character; sym- 
pathy enables us to identify ourselves with it." To- 
gether they form the chief elements of altruism. 
They redeem the mind from narrowness and selfish- 
ness ; they enable the individual to appreciate the 
point of view, the feelings, motives, and characters of 
his fellow-men ; they open his eyes to read the 
various languages of human art ; they enable him to 
commune with his kind on a higher plane than that of 
commonplace facts ; they lift him into communion with 
the art and spirit of every age and nation. Without 
their development man is excluded from the highest 
enjoyment, the highest communion with his kind, and 
from the highest success in every walk of life." 

Dramatization is the only means by which we can 
bring the reading work of the school to its full and 
natural expression. The action involved in it predis- 
poses the mind to full and natural utterance. The ful- 
filment of all the dramatic conditions lends an impetus 
and genuineness to every word that is spoken. It 
has been often observed that boys and girls whose 
reading is somewhat expressionless become direct 
and forcible when taking a part in a dialogue or 
dramatic action. It would be almost farcical not to 
put force and meaning into the words when all the 
other elements of action and realism are present 

Educational progress is everywhere exerting a 
distinct pressure at those points where greater real- 
ism, deeper absorption in actualities, is possible. 



METHOD FURTHER DISCUSSED AND ILLUSTRATED l6l 

This is the significance of outdoor excursions, of 
experiments, laboratories, and object work in nature 
study. In geography and history it is the purpose 
of pictures, vivid descriptions, biographical stories, and 
the accounts of eye-witnesses and real travellers, etc. 

In literature we possess, embodied in striking 
concrete personalities, many of the most forcible 
ideas that men have conceived and dealt with in 
the history of the world. It is very desirable that 
children should become themselves the vehicles for 
the expression of these ideas. The school is the 
place where children should become the embodi- 
ment of ideas. It would be a grand and not im- 
practical scheme of education to propose to make 
the school a place where each child, in a well- 
chosen succession, should be allowed to impersonate 
and become the embodiment of the constructive 
ideas of our civilization. 

We reason much concerning the educative value 
of carpentry, of the various forms of manual skill in 
wood and iron, of weaving, gardening, and cooking, 
of the work of shoemaker, basket-maker, and potter, 
and of the educative value of these constructive 
activities ; for the purposes of universal education, 
is it not of equal importance that children become 
skilled in the histrionic art, in the apt interpretation 
and expression of good manners, in that deeper 
social insight and versatile tact which are the con- 
structive elements in conduct ? Or, putting it in a 

M 



1 62 SPECIAL METHOD OF CLASSICS 

more obvious form, is it any more important for 
a person to know how to construct a bookcase or 
even a steam-engine, than to shape his speech or 
conduct skilfully in meeting a board of education 
or a business manager. 

It is not the purpose of the school to educate 
players or public readers, any more than to train 
carpenters or machinists. But the reading exercises 
in school should culminate in the ability to sympa- 
thetically interpret a considerable variety of human 
life and character as presented in our best Uterature. 
Modern educators, however, are not satisfied, in any 
important study, with theoretical knowledge derived 
from books. They demand that knowledge shall 
pass over into some sort of practice and use. Read- 
ing passes naturally and without a break from the 
interpretation of life to its embodiment in conduct. 
In this important respect it is the most practical 
of all studies. Its subject matter, derived from 
literature, consists largely of an interesting variety 
of typical and artistically beautiful character delinea- 
tions from the hands of the supreme master of this 
art. Dramatic representation is the last and indis- 
pensable step in the art of reading ; and the interest 
that naturally attaches to it, from early childhood 
up through all the stages of growth, removes one 
chief obstacle to its introduction. 

Keeping in mind that wisdom, skill, and versatility 
in conduct are the natural and appropriate outcome 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 1 63 

of successful dramatic representation, it is not at 
all extravagant to say that the average child will 
have far more use for this result, both now and in all 
the vicissitudes of later life, than for skill in car- 
pentry, or ironwork, or weaving, etc. 

Nor have we any disposition to detract from the 
value usually attributed to manual training in its 
various forms by its advocates. 

It is not uncommon for teachers generally to employ 
the dialogue form when the selection admits of it, and 
to assign the parts to different children. Our purpose, 
however, in the fuller discussion and emphasis of the 
dramatic element is to suggest a more liberal employ- 
ment of dramatic selections, and to provide for a much 
fuller dramatic representation, using simple, inexpen- 
sive costumes and stage surroundings where possible. 

When we examnne in detail the number of dramatic 
selections in a set of readers, or among the master- 
pieces sometimes read in the classes below the high 
school, we shall find a number of purely dramatic 
works. *'The Merchant of Venice" and ''Julius 
Caesar " are well adapted to seventh and eighth 
grades, and there are many selections in which 
the dialogue is an important feature, as in ''The 
Cricket on the Hearth," " King of the Golden River," 
"Tanglewood Tales," "Lady of the Lake," "Mar- 
mion," "Pilgrim's Progress," "Grandfather's Chair," 
and many others. 

" The Courtship of Miles Standish " has been 



1 64 SPECIAL METHOD OF CLASSICS 

published in a form specially adapted for school 
exhibitions by Houghton, Mifflin, & Co. Longfellow's 
Giles Corey of the Salem Farms," in the Riverside 
Series," is a drama well suited to sixth grade. The 
story of WilUam Tell," derived from Schiller's 
drama, is adapted to sixth and possibly to fifth grade. 

Some of the ballads are cast in the form of the 
dialogue, and can be easily treated so in the school, 
as " Proud Lady Margaret," Robin Hood and the 
Widow's Sons," " King John and the Abbot of Canter- 
bury," and many others. The Robin Hood stories 
are full of dialogue and could be easily dramatized, 
and so with "Uncle Tom's Cabin," and others. 

An examination of our literature from this point 
of view will discover a strong dramatic element in 
a large portion of it, and the cultivation of this spirit 
will qualify the children for a better appreciation of 
many of the great works. 

5. Treatment of the " Odyssey." 

The Odyssey " is probably as well known as any 
masterpiece in the world's literature. For the sake 
of illustration, therefore, we will enter upon a brief 
discussion of the mode of handling it as a unit in the 
school. 

There are abundant sources in English from 
which the teacher can get an adequate knowledge 
of this great poem without using the original Greek. 
A few of the leading books which the teacher may 
consult are as follows: *'The Story of Ulysses" 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 165 

(Cook). A very simple, abbreviated narrative of 
Ulysses' wanderings, sometimes used as a reading 
book in fourth or fifth grade. (Public School 
Publishing Co.) — "Lamb's Adventures of Ulysses." 
A pleasing prose rendering of the chief incidents of 
the story, more difficult than the preceding. Some- 
times used as a reader. (Ginn & Co.) — '^Church's 
Stories of the Old World,'' in which " The Adven- 
tures of Ulysses " forms a chapter. A good short 
treatment of the story in simple language. (Ginn & 
Co.) — "Ulysses among the Phaeacians," consisting 
of selections from five books of the Odyssey" as 
translated into verse by Bryant. This seems well 
adapted for use as a reading-book in fourth or fifth 
grade, and will be discussed more fully as such. 
(Houghton, Mifflin, & Co.) — " The Odyssey of 
Homer " by Palmer, is an excellent prose-poetic 
rendering of the whole poem, and is of great service 
to the teacher. (Houghton, Mifflin, & Co.) — An- 
other excellent prose translation, by Butcher and 
Lang, has been much used. (The Macmillan Co.) 
— Bryant's " Homer's * Odyssey,' " a complete poetic 
rendering of the whole twenty-four books of the 
poem, is probably the best basis for school refer- 
ence and study of the poem. — " National Epics," by 
Rabb, has a good narrative and introduction for the 
Odyssey," and a list of critical references. (A. C. 
McClurg & Co.) — "Art and Humanity in Homer," 
by Lawton, has an interesting discussion of the 



i 



i66 



SPECIAL METHOD OF CLASSICS 



Odyssey/' Other famous translations of the whole 

Odyssey were made by Alexander Pope, William 
Cowper, George Chapman, and others. 

It is not unusual in schools for teachers to give 
children of the third or fourth grade an oral introduc- 
tion to the whole story in a series of lessons. This 
requires skill in presenting and discussing the 
episodes, and should be attended by good oral repro- 
ductions by the children. Such oral work should be 
done in distinct lessons apart from the regular read- 
ing. Later, in fourth or fifth grade, the story is 
sometimes read in class from one of the simple prose 
narratives of Miss Cook, or Lamb, or Church. In 
the fifth or sixth grade, Ulysses among the Phaea- 
cians" forms an interesting reading-book, with which 
to acquaint the children more fully with the poetic 
beauty and descriptive detail of the original, so far 
as it can be secured in English. In connection with 
such reading it may be interesting to choose from 
Bryant's complete translation other selected parts of 
the story, and encourage the children to read them, 
if books from the library or homes can be provided. 

We may dwell for a moment upon those qualities of 
Homer's story which have commanded the admira- 
tion of the great poets in different ages and countries. 
The peculiar poetic charm and power of the original 
Greek are probably untranslatable, although several 
eminent poets have attempted it. But we have at 
least both prose and verse renderings of it that are 
beautiful and poetic. 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 167 

Some of the critics have said that the whole poem 
is a perfect unit in thought, — much more so than the 

Iliad," — centring in the person of Ulysses. His 
wanderings and his final return constitute the thread 
of the narrative. In the main it is a story of peace, 
with descriptions of cities, islands, palaces, strange 
lands, and peaceful arts and manners. After their 
return from Troy we meet Nestor and Menelaus, 
dwelling happily in their palaces and surrounded 
with home comforts. Ulysses, himself, the great 
sufferer, is tossed about the world, or held captive 
on sea-girt, far-away islands. He passes through a 
series of wonderful adventures, keeping his alertness 
and balance of mind so completely that his name has 
become a synonym in all lands for shrewdness and 
far-seeing wisdom. And it is not only a wise percep- 
tion, but a self-control in the midst of old and new 
temptations which is most remarkable. This over- 
mastering shrewdness or calculation even overdoes 
itself and becomes amusing, when he tries, for 
example, to deceive his guardian goddess as to who 
he is. The descriptions of women and of domestic 
life are famous and delightful. The constancy of 
Penelope, her industry and shrewdness in outwitting 
the suitors, have given her a supreme place among 
the women of story. The descriptions of peaceful 
manners and customs, of public games, of feasting 
and music, of palace halls and ornament, are among 
the great literary pictures of the world. 



l68 SPECIAL METHOD OF CLASSICS 

The particular adventures through which Ulysses 
passed with Circe, with the Sirens, with Polyphemus, 
with Eolus, with the lotus-eaters, and others, are 
plainly suggestive of the dangers which threaten the 
thoughtless minded, those who plunge headlong into 
danger without forethought. Ulysses does not give 
way to folly or passion, is bold and skilful in danger, 
and persevering to the last extreme. 

In the treatment of the Odyssey,*' the teacher 
will need a general knowledge of Greek mythology, 
which can be easily derived from Greek Gods, 
Heroes, and Men (Scott, Foresman, & Co.), and 
from several other of the reference books. Some 
study of Greek architecture, sculpture, and modes of 
life will be instructive and helpful, as given in Smith's 
" History of Greece and other histories. Pictures of 
Greek temples and ruins, sculpture, and palaces will 
be pleasing and attractive to children. (See Liibke's 

History of Art," Vol. I, Dodd, Mead, & Co.) Some 
of the children's books also contain good pictures. 

A good map, indicating the supposed wanderings 
of Ulysses in the Mediterranean, is given in several 
of the books, e.^-. in Palmer's Odyssey," and fixes 
many of the most interesting events of the story. 
The teacher should not overlook the geography of 
the story and its relation to this and later studies in 
history, literature, and geography. 

In using Ulysses among the Phaeacians " as a 
reader in fourth or fifth grade, the first unit of study 



METHOD FURTHER DISCUSSED AND ILLUSTRATED 169 

is the voyage of Ulysses on his raft, from the time 
of leaving Calypso till he is wrecked by the storm 
and driven upon the island of Scheria, the home of 
the Phaeacians. We will suggest a few points in 
the treatment. The supposed places and the route 
of the voyage can be traced on the map. Let the 
teacher sketch it on the board in assigning the lesson. 
Suggest that the children locate in the sky the stars 
and constellations by which Ulysses is to direct his 
course. The story of the construction of the raft on 
which Ulysses is to make this journey, just preceding 
this part of the story, could be read to the class by 
the teacher, as it is not contained in these extracts. 
In length of time how does this voyage compare 
with a voyage across the Atlantic to-day ? Why is it 
said, in line 329, that the Great Bear alone dips not 
into the w^aters of the deep " ? 

From previous studies, the children may be able 
to tell of Ulysses* stay upon the island with Calypso. 
What may the children know of Neptune ? Why is 
he angered with Ulysses ? A picture of Neptune 
with the trident is in place. Explain the expression 
"while from above the night fell suddenly." Was 
Ulysses justified in saying, Now must I die a miser- 
able death " In spite of the desperate storm, in 
what ways does Ulysses struggle to save his life } 
How do the gods assist him ? In what way does 
this experience of Ulysses remind us of Robinson 
Crusoe's shipwreck and escape ? 



I/O 



SPECIAL METHOD OF CLASSICS 



With how many men had Ulysses started on his 
way to Troy ? Now he alone escapes after great 
suffering and hopeless buffetings. In what way 
during this voyage and shipwreck did Ulysses display 
his accustomed shrewdness and foresight ? After 
landing, what dangers did he still fear? 

The nearly three hundred lines of Book V, which 
give this account of Ulysses' voyage and shipwreck, 
will require several lessons, and the above questions 
are but a few of those raised in its reading and dis- 
cussion. When Neptune, Ulysses, or Ino speak, let 
the speaker be impersonated so as to give greater 
force and reality. In the next book (VI), there is 
more of dialogue and better opportunity for variety 
of manner and voice. 

It would be tedious to enter into further detail 
suggesting questions. But we may believe that a 
spirited treatment of this part of the story of Ulysses 
in reading lessons, including his stay and treatment 
among the Phaeacians, will give the children much 
appreciation of the beauty and power of this old 
story. By means of occasional readings of other 
selected parts of the Odyssey," from Bryant or 
Palmer, some of the most striking pictures in the 
story of his wanderings can be presented. Even 
the children may find time for some of this addi- 
tional, outside reading. In any event the story of 
Ulysses, as a piece of great literature, can thus be 
brought home to the understandings and hearts of 



SUMMARY OF SIGNIFICANT POINTS IN READING I7I 

children, and will constitute henceforward a part 
of that rich furniture of the mind which we call 
culture. 



SUMMARY OF SIGNIFICANT POINTS IN READING 

1. The teacher's effort is first directed to a vivid 
interpretation of the author's thought and feeling, 
and later to an expressive rendering of the thought. 

2. Every exertion should be made to lead the 
children to an absorbed and interested attention in 
the selections. 

3. The author's leading motive in the whole se- 
lection should be firmly grasped by the teacher. By 
centring all discussion toward this motive, unneces- 
sary digressions will be avoided. 

4. The teacher will hardly teach well unless he 
has saturated himself with the spirit of the selection, 
and enjoys it. To this end he needs not only to 
study the selection, but also the historical, geographi- 
cal, biographical, and other side-lights. 

5. The teacher needs great freedom and versa- 
tility in the use of his materials. Warmth, anima- 
tion, and freedom of manner are necessary. 

6. Children often do not know how to study a 
reading lesson. In the assignment and in the way of 
handling the lesson they should be taught how to get 
at it, how to understand and enjoy it. 



1/2 



SPECIAL METHOD OF CLASSICS 



7. In the assignment of the lesson the thought 
of the piece should be opened up in an interesting 
way, and such difficulties as children are not likely to 
grapple with and master for themselves pointed out 
and approached. Difficult words need to be pro- 
nounced and hard passages explained. 

8. The assignment should be unmistakably clear 
and definite, so as to insure a good seat study. 

9. The seat study should be chiefly on parts 
already discussed in class. 

10. During the recitation proper, strong class at- 
tention by all the members of the class is a first 
necessity. Much knowledge, alertness, and skill are 
necessary to secure this. One must keep all the 
members of the class in the eye constantly, and 
distribute the questions and work among them 
promptly and judiciously, so as to secure con- 
centrated effort. 

11. The teacher can often judge a recitation better 
without looking at the book while the class is read- 
ing. 

12. Skill in questioning is very useful in reading 

lessons. 

(a) Questions to arouse the thought should 

appeal to the experience of children. 

(b) Questions to bring out the meaning of 

words or passages, or to expose errors or 
to develop thought, should be clear and 
specific, not long and ambiguous. 



SUMMARY OF SIGNIFICANT POINTS IN READING 1/3 

13. Let the teacher be satisfied with reasonable 
answers, and not insist on the precise verbal form 
present to his own mind. 

14. The teacher needs to awaken strongly the 
imagination in picturing scenes, in interpreting 
poetic images and figures, and in impersonating 
characters. The picture-forming power is stimulated 
by apt questions, by suggestion of the teacher, by 
interpretation, by appeal to experience, by dramatic 
action. 

15. The use of the dialogue and dramatic repre- 
sentation is among the best means of awakening 
interest and producing freedom and self-forgetful- 
ness. 

16. The pupil should give his own interpretation, 
subject to correction, and interpret parts in relation 
to the whole. 

17. Without too much loss of time children should 
learn to help themselves in overcoming difficulties 
in solving problems. 

18. Sometimes it is well for children to come pre- 
pared to ask definite questions on parts they do not 
understand. 

19. The tendency to more independent and mature 
thinking is encouraged by comparing similar ideas, 
figures of speech, and language in different poems 
and from different authors. 

20. There should be much effective reading and 
not much mere oral reproduction. The paraphrase 



174 



SPECIAL METHOD OF CLASSICS 



may be used at times to give the pupil a larger view 
of the content of the piece. 

21. Let the pupil reading feel responsible for giv- 
ing to the class the content of the printed page. 
Often it is best to face the class. 

22. The teacher should occasionally read a pas- 
sage in the best style for the pupils, not for direct 
imitation, but to suggest the higher ideals and spirit 
of good reading. A high standard is thus set up. 

23. Children should be encouraged to learn by 
heart the passages they like. In the midst of the 
recitation it is well occasionally to memorize a pas- 
sage.^ 

24. The teacher must drill himself in clear-cut 
enunciation of short vowels, final consonants, and 
pure vowel sounds. Cultivate also a quick ear for 
accurate enunciation in the pupils and for pleasing 
tones. Frequent drill exercise, singly and in con- 
cert, is necessary. 

25. Use ingenuity by indirect methods to over- 
come nasality, stuttering, nervously rapid reading, 
slovenly and careless expression, monotone, and sing- 
song. 

26. By means of physical training, deep breathing, 
vigorous thought work, encourage to self-reliant 
manner and good physical position. 

27. Give variety to each lesson ; avoid monotony 
and humdrum. 

28. Each lesson should emphasize a particular 



SUMMARY OF SIGNIFICANT POINTS IN READING 1/5 

aim, determined by the nature of the selection or by 
the previous bad habits and faults of the children 
in reading. It is impossible to give proper emphasis 
to all things in each lesson, and indefiniteness and 
monotony are the result. 



CHAPTER VI 



THE VALUE OF CLASSICS TO THE TEACHER 

In discussing the value and fruitfulness of this 
field of study to children, it is impossible to forbear 
the suggestion of its scope and significance for 
teachers. If the masters of song and expression 
are able to work so strongly upon the immature 
minds of children, how much deeper the influence 
upon the mature and thoughtful minds of teachable 
teachers ! They above all others should have dis- 
positions receptive of the best educational influences. 
The duties and experiences of their daily work pre- 
dispose them toward an earnest and teachable spirit. 
In very many cases, therefore, their minds are wide 
open to the reception of the best. And how deep 
and wide and many-sided is this enfranchisement of 
the soul through literature ! 

It is a gateway to history ; not, however, that cast- 
away shell which our text-books, in the form of a dull 
recital of facts, call history ; but its heart and soul, 
the living, breathing men and women, the source 
and incentive of great movements and struggles 
toward the light. Literature does not make the 
study of history superfluous, but it puts a purpose 

176 



THE VALUE OF CLASSICS TO THE TEACHER I// 

into history which lies deeper than the facts, it sifts 
out the wheat from the chaff, casts aside the super- 
ficial and accidental, and gets down into the deep 
current of events where living causes are at work. 

The " Courtship of Miles Standish," for example, 
is deeper and stronger than history because it ideal- 
izes the stern and rigid qualities of the Puritan, while 
John Alden and Priscilla touch a deeper universal 
sympathy, and body forth in forms of beauty that 
pulsing human love which antedates the Puritan and 
underlies all forms of religion and society. 

Illustrative cases have been given in sufficient 
abundance to show that literature, among other 
things, has a strong political side. It grasps with 
a master hand those questions which involve true 
patriotism. It exalts them into ideals, and fires the 
hearts of the people to devotion and sacrifice for 
their fulfilment. 

Burke's Oration on the American War" is, to one 
who has studied American history, an astonishing 
confirmation of how righteous and far-sighted were 
the principles for which Samuel Adams and the 
other patriots struggled at the opening of the Revo- 
lution. Webster's speech at Bunker Hill is a graphic 
and fervent retrospect on the past of a great struggle, 
and a prophetic view of the swelling tide of indi- 
vidual, social, and national well-being. 

If the teacher is to interpret history to school 
children, he must learn to grasp what is essential 

N 



178 



SPECIAL METHOD OF CLASSICS 



and vital; he must be able to discriminate between 
those events which are trivial and those of lasting 
concern. The study of our best American literature 
will reveal to him this distinction, and make him a 
keen and comprehensive critic of political affairs. 

Barnett, in his " Common Sense in Education and 
Teaching (p. 170), says : — 

" In the second place, literature provides us with 
historical landmarks. We cannot be said to under- 
stand the general * history ' of a particular time unless 
we know something of the thought that stirred its 
most subtle thinkers, and interpreted and made articu- 
late the spirit of the times in which they lived. The 
most notable facts in the history of the times of 
Edward III, of Elizabeth, and of Victoria are that 
Chaucer and Shakespeare and Tennyson and their 
contemporaries lived and wrote. Political history, 
social history, economic history, even ecclesiastical his- 
tory, are all reflected, illustrated, and interpreted by 
what we find in the great works of contemporary 
literature." 

Charles Kingsley, in his " Literary and General 
Essays" (p. 249), holds a like opinion: — 

" I said that the ages of history were analogous to 
the ages of man, and that each age of literature was 
the truest picture of the history of its day, and for 
this very reason English literature is the best, per- 
haps the only, teacher of English history, to women 
especially. For it seems to me that it is principally by 



THE VALUE OF CLASSICS TO THE TEACHER 1 79 

the help of such an extended literary course that we 
can cultivate a just and enlarged taste which will con- 
nect education with the deepest feelings of the heart." 

Literature is also a mirror that reflects many sides 
of social life and usage. There is no part of a 
teacher's education that is so vital to his practical 
success as social culture. John Locke's ''Thoughts 
on Education " are, in the main, an inquiry into the 
methods and means by which an EngHsh gentleman 
can be formed. The aim of the tutor vvho has this 
difficult task is not chiefly to give learning, to fill the 
mind with information, to develop mentality, but to 
train the practical judgment in harmony with gentle- 
manly conduct. The tutor, himself a scholar, is to 
know the world, its ins and outs, its varieties of social 
distinction and usage, its snares and pitfalls, its wise 
men and fools. The child is to learn to look the 
world in the face and understand it, to know himself 
and to be master of himself and of his conduct, to 
appreciate other people in their moods and characters, 
and to adapt himself prudently and with tact to the 
practical needs. The gentleman whom Locke sets 
up as his ideal is not a fashion-plate figure, not a 
drawing-room gallant, but a clear-headed man who 
understands other people and himself, and has been 
led by insensible degrees to so shape his habitual 
conduct as most wisely to answer his needs in the 
real world. Emerson, with all his lofty ideahsm and 
unconventionalism, has an ideal of education nearly 



l8o SPECIAL METHOD OF CLASSICS 

akin to that of Locke. This social ideal of Locke 
and Emerson is one that American teachers can well 
afford to ponder. As a nation, we have been accus- 
tomed to think that a certain amount of roughness 
and boorishness was necessary as a veil to cover the 
strongest manly qualities. Smoothness and tact and 
polish, however successful they may be in real life, 
are, theoretically at least, at a discount. The Adamses, 
Jefferson, Jackson, Lincoln, Thoreau, were men who 
did violence in a good many ways to social usages, 
and we may admire their faults overmuch. 

To the teacher who stands in the presence of thirty 
or fifty distinct species of incipient men and women, 
social insight and culture, the ability to appreciate 
each in his individual traits, his strength or weakness, 
are a prime essential to good educative work. 

Now, there are two avenues through which social 
culture is attainable, — contact with men and women 
in the social environment which envelops us all, and 
literature. Literature is, first of all, a hundred-sided 
revelation of human conduct as springing from motive. 
Irving, Hawthorne, Longfellow, Holmes, and Lowell 
are revealers of humanity. Still more so are Dickens 
and Eliot and Shakespeare and Goethe. To study 
these authors is not simply to enjoy the graphic 
power of an artist, but to look into the lives of so 
many varieties of men and women. They lay bare 
the heart and its inward promptings. Our apprecia- 
tion for many forms of life under widely differing 



THE VALUE OF CLASSICS TO THE TEACHER l8l 

conditions is awakened. We come in touch with 
those typical varieties of men and women whom we 
shall daily meet if we will but notice. It broadens 
one's perceptions and sympathies, it reveals the 
many-sidedness of human life. It suggests to a 
teacher that the forty varieties of humanity in her 
schoolroom are not after one pattern, nor to be 
manipulated according to a single device. 

The social life that surrounds each one of us is 
small and limited. Our intimate companionships are 
few, and we can see deeply into the inner life of but 
a small portion even of those about us. The deeper 
life of thought and feeling is largely covered up with 
conventionalities and externalities. But in the works 
of the best novelists, dramatists, and poets, we may 
look abroad into the whole world of time and place, 
upon an infinite variety of social conditions, and we 
are permitted to see directly into the inner thought 
and motive, the very soul of the actors. Yet fidelity 
to human nature and real life is claimed to be the 
peculiar merit of these great writers. By the com- 
mon consent of critics, Shakespeare is the prince of 
character delineators. Schlegel says of him : — 

" Shakespeare's knowledge of mankind has become 
proverbial ; in this his superiority is so great that he 
has justly been called the master of the human heart. 
A readiness to remark the mind's fainter and invol- 
untary utterances, and the power to express with cer- 
tainty the meaning of these signs, as determined by 



l82 



SPECIAL METHOD OF CLASSICS 



experience and reflection, constitute *the observer of 
men.' " 

" After all, a man acts so because he is so. And 
what each man is, that Shakespeare reveals to us 
most immediately ; he demands and obtains our be- 
lief, even for what is singular and deviates from the 
ordinary course of nature. Never perhaps was there 
so comprehensive a talent for characterization as 
Shakespeare. It not only grasps every diversity of 
rank, age, and sex, down to the lispings of infancy ; 
not only do the king and the beggar, the hero and 
the pickpocket, the sage and the idiot, speak and act 
with equal truthfulness ; not only does he transport 
himself to distant ages and foreign nations, and por- 
tray with the greatest accuracy (a few apparent vio- 
lations of costume excepted) the spirit of the ancient 
Romans, of the French in the wars with the English, 
of the English themselves during a great part of their 
history, of the Southern Europeans (in the serious 
part of many comedies), the cultivated society of the 
day, and the rude barbarism of a Norman foretime ; 
his human characters have not only such depth and 
individuality that they do not admit of being classed 
under common names, and are inexhaustible even in 
conception, — no, this Prometheus not merely forms 
men, he opens the gates of the magical world of 
spirits/' 

What is true of Shakespeare in a preeminent 
degree is true to a marked extent of all the great 
novelists and poets. 



THE VALUE OF CLASSICS TO THE TEACHER 1 83 

The teacher needs to possess great versatility and 
tact in social situations. A quick insight, social 
ease, freedom, and self-possession are of the first 
importance to him. The power of sympathy, of 
appreciation for others' feelings and difficulties, is 
wholly dependent upon such social cultivation. 
Otherwise the teacher will be rude, even uncouth 
and boorish in manner, producing friction and ill- 
will where tact and gentleness would bring sympathy 
and confidence. Many people absorb this refine- 
ment of thought and manner from the social circles 
with which they mingle, and it is, of course, a smil- 
ing fortune that has placed a teacher's early life in 
a happy and cultured atmosphere, where the social 
sympathies and graces are absorbed almost uncon- 
sciously. But even where the earlier conditions 
have been less favorable, the opportunity for rapid 
social development and culture is most promising. 
The numberless cases in our country in which young 
people, by the strength of their energetic purpose 
and desire for improvement, have raised themselves 
not only to superior knowledge and scholarship, but 
also to that far greater refinement of social life and 
manner which we call true culture, — the numberless 
instances of this sort are a surprising indication of 
the power of education. Literature has been a 
potent agent in this direction. It emancipates, it 
sets free, the spirit of man. It lifts him above what 
is sordid and material, and gives him those true 



SPECIAL METHOD OF CLASSICS 



standards of worth with which to measure all things. 
It contains within itself the refining elements, the 
aesthetic and ethical ideals, and, best of all, it por- 
trays human life in all its thought, feehng, and 
passion with such intensity and realistic fidelity that 
its teaching power is unparalleled. 

This potentiahty of the better literature to produce 
such noble results in the higher range of culture is 
dependent upon conditions. Xo one will understand 
literature who does not study and understand ordi- 
nary life as it surrounds him ; who does not con- 
stantly draw^ upon his own experience in interpreting 
the characters portrayed in books. Xo stupid or 
unobservant person will be made wise through books, 
be they never so choice. Even the student who 
works laboriously at his text-books, but has no eye 
nor care for the people or doings about him, is get- 
ting only the mechanical side of education, and is 
losing the better part. He who will draw riches out 
of books must put his intellect and sympathy, his 
whole enthusiastic better self, into them. 

The indwelling virtue of great books is that they 
demand this intense awakening, this complete absorp- 
tion of the whole self. The mind of a child and of 
a man or woman has to stretch itself to the utmost 
limit to take in the message of a great writer. One 
feels the old barriers giving way and the mind ex- 
panding to the conception of larger things. Speak- 
ing of the ancient drama at Athens, Shelley says. 



THE VALUE OF CLASSICS TO THE TEACHER 1 85 

The imagination is enlarged by a sympathy with 
pains and passions so mighty that they distend in 
their conception the capacity of that by which they 
are conceived." 

Those who have received into the inner self the 
expansive energy of noble thought and social culture, 
are the better qualified, from the rich variety of the 
inner life, to act effectively upon the complex con- 
ditions and forces of the outer world. The teacher 
whose inner life is teeming with these rich sympa- 
thies and potent ideals will react with greater pru- 
dence and tact upon the kaleidoscopic conditions of 
a school. 

Practical social life and literature are not distinct 
modes of culture. They are one, they interact upon 
each other in scores of ways. Give a teacher social 
opportunities, give him the best of our literature, let 
these two work their full influence upon him, — then, 
if he cannot become a teacher, it is a hopeless case. 
Let him go to the shop, to the farm, to the legisla- 
ture ; there is no place for him in the schoolroom. 

Literature is also a sharp and caustic critic of his 
own follies or foibles, to one who can reflect. It has 
a multitude of surprises by which we are able, as 
Burns wished, — 

"To see oursels as ithers see us." 

Even the schoolmaster finds an occasional apt de- 
scription of himself in literature which it is often 



SPECIAL METHOD OF CLASSICS 



interesting and entertaining for him to ponder. One 
of the most familiar is that of Goldsmith in The 
Deserted Village " : — 

Beside yon straggling fence that skirts the way 

With blossom'd furze unprofitably gay. 

There, in his noisy mansion, skill'd to rule, 

The village master taught his little school. 

A man severe he was, and stern to view ; 

I knew him well, and evtry truant knew : 

Well had the boding tremblers learn'd to trace 

The day's disasters in his morning face : 

Full well they laugh'd, with counterfeited glee, 

At all his jokes, for many a joke had he : 

Full well the busy whisper, circling round, 

Convey'd the dismal tidings when he frown'd. 

Yet he was kind, or, if severe in aught. 

The love he bore to learning was in fault. 

The village all declard how much he knew ; 

*Twas certain he could write, and cipher too ; 

Lands he could measure, tenns and tides presage, 

And even the story ran that he could gauge ; 

In arguing, too. the parson own'd his skill, 

For even though vanquish'd he could argue still; 

While words of learned length and thundering sound 

Amaz'd the gazing rustics rang'd around ; 

And still they gaz'd. and still the wonder grew 

That one small head could carr}' all he knew." 

A like entertainment and suggestion of what the 
schoolmaster may. be, as seen by others, are fur- 
nished by Irving's Ichabod Crane. William Shen- 
stone's description of the schoolmistress and the 
school near two hundred vears ac^o in his native 
village, is very diverting. Charles Dickens's descrip- 



THE VALUE OF CLASSICS TO THE TEACHER 1 8/ 

tion of schools and schoolmasters is important in 
the history of England, and, like his portrayals 
of child life generally, of deep pedagogical worth 
to teachers. , 

In his book, "The Schoolmaster in Literature,'* 
Mr. Skinner has done a real service to the teaching 
world in bringing together, into a convenient com- 
pilation from many sources, the literature bearing 
directly upon the schoolmaster. Even the comic 
representations and caricatures are valuable in call- 
ing attention to common foibles and mannerisms, to 
say nothing of the more serious faults of teachers. 

It is in literature, also, and in those lives and 
scenes from history which literary artists have 
worked up, that the teacher can best develop his 
own moral ideals and strengthen the groundwork of 
his own moral character. The stream will not rise 
above its source, and a teacher's moral influence in 
a school will not reach above the inspirations from 
high sources which he himself has felt. Those 
teachers who have devoted themselves solely to the 
mastery of the texts they teach, who have read little 
from our best writers, are drawing upon a slender 
capital of moral resource. Not even if home influ- 
ences have laid a sound basis of moral habits are 
these sufficient reserves for the exigencies of teach- 
ing. The moral nature of the teacher needs con- 
stant stimulus to upward growing, and the children 
need examples, ideal illustrations, life and blood im- 



i88 



SPECIAL METHOD OF CLASSICS 



personations of the virtues ; and literature is the chief 
and only safe reservoir from which to draw them. 

We have already discussed the moral value of the 
right books for children. The lessons of the great 
works are so profound in this respect that they offer 
a still wider range of study to the teacher. Even 
the foremost thinkers and philosophers have found 
therein an inexhaustible source of truth and wisdom. 

In the Foreword to his Great Books as Life 
Teachers," Newell Dwight Hillis says, " For some 
reason our generation has closed its text-books on 
ethics and morals, and opened the great poems, 
essays, and novels." This is a remarkable statement 
and is the key-note to a silent but sweeping change 
in education. He adds, Doubtless for thoughtful 
persons this fact argues, not a decHne of interest in 
the fundamental principles of right living, but a 
desire to study these principles as they are made 
flesh and embodied in living persons." Again, It 
seems important to remember that the great novel- 
ists are consciously or unconsciously teachers of 
morals, while the most fascinating essays and poems 
are essentially books of aspiration and spiritual 
culture." 

It is suggestive to note that this fundamental text 
is worked out in his book by chapters on Ruskin's 

Seven Lamps of Architecture," George Eliot's 
" Romola," Hawthorne's Scarlet Letter," Victor 
Hugo's Les Miserables," Tennyson's Idylls of 



THE VALUE OF CLASSICS TO THE TEACHER 1 89 

the King," and Browning's *'Saul." This suggests 
a fruitful line of studies for every teacher. 

Among modern essayists, Emerson, Carlyle, Rus- 
kin, and Matthew Arnold stand preeminent, and they 
are already well established among the mightiest 
teachers of our age, and it may be, of many to 
come. Sure it is that teachers could not do better 
than put themselves within earshot of these reso- 
nant voices. Their heart-strings will vibrate and 
their intellects will be stretched to a full tension, 
not simply by the music, but by the truth which 
surges up and bursts into utterance. It is scarcely 
a figure of speech to say that the lightning flashes 
across their pages. The stinging rebuke of wrong, 
the noble ideals of righteousness, place them among 
the prophets whose tongues have been touched with 
fire from the altar. 

Besides the historical, social, and moral tuition for 
teachers in literature, there are several other impor- 
tant culture effects in it. The deepest religious in- 
centives are touched, nature in her myriad phases is 
observed with the eye of the poet and scientist, and 
the aesthetic side of poetry and rhythmic prose, its 
charm and graces of style, its music and eloquence, 
work their influence upon the reader. Literature is 
a harp of many strings, and happy is that teacher 
who has learned to detect its tones and overtones, 
who has listened with pleasure to its varied raptures, 
and has felt that expansion of soul which it produces. 



1 90 SPECIAL METHOD OF CLASSICS 

Literature, in the sense in which we have been 
using it, has been called the literature of power, the 
literature of the spirit. That is, it has generative, 
spiritual life. It is not simple knowledge, it is 
knowledge energized, charged with potency. It is 
knowledge into which the poet has breathed the 
breath of life. The difference between bare knov.^1- 
edge and the literature of power is like the differ- 
ence between a perfect statue in stone and a living, 
pulsing, human form. 

One of the virtues of literature, therefore, is the 
mental stimulus, the joy, the awakening, the inten- 
sity of thought it spontaneously calls forth. Text- 
books are usually a bore, but literature is a natural 
resource even in hours of weariness. Who would 
dream of enlivening leisure hours or vacation rest 
with text-books of grammar, or arithmetic, or his- 
tory, or science ? But the poet soothes with music, 
solemn or gay, according to our choice. If we go to 
the woods or lakes to escape our friends, we take one 
of the masters of song with us. After a day of toil 
and weariness, we can turn to Evangeline,'' or 
" Lady of the Lake," or the ''Vision of Sir Launfal," 
and soon we are listening to — 

" The murmuring pines and the hemlocks,^' 

or the echo of the hunter's horn, — 

" The deep-mouthed bloodhound's heavy bay 
Resounded up the rocky way, 



THE VALUE OF CLASSICS TO THE TEACHER IQI 

And faint, from farther distance borne, 
Were heard the clanging hoof and horn." 

At a time when we are not fit for the irksome and 
perfunctory preparation of text-book lessons, we are 
still capable of receiving abundant entertainment or 
hearty inspiration from Warner's How I killed a 
Bear," or Tennyson's ''Enoch Arden," or ''Sleepy 
Hollow." Literature is recreation in its double 
sense. It gives rest and relief, and it builds up. 

Teachers should shake themselves free from the 
conviction that severe disciplinary studies are the 
best part of education. They have their well- 
merited place. But there are higher spiritual foun- 
tains from which to draw. Read the lives of Scott, 
Macaulay, Irving, Hawthorne, and Emerson, and 
discover that the things we do with the greatest 
inward spontaneity and pleasure and ease are often 
the best. 

Literature, both in prose and verse, is what the 
teacher needs, because our best authors are our 
best teachers in their method of handling their sub- 
jects. They know how to find access to the reader's 
mind by making their ideas attractive, interesting, 
and beautiful. They seem to know how to sharpen 
the edge of truth to render it more keen and inci- 
sive. They drive truth deeper, so that it remains 
embedded in the life and thought. Let a poet clothe 
an idea with strength and wing it with fancy, and it 



192 SPECIAL METHOD OF CLASSICS 

will find its way straight to the heart. First of all, 
nearly all our classic writers, especially those we 
use in the grades, handle their subjects from the 
concrete, graphic, picturesque side. They not only 
illustrate abundantly from nature and real things in 
life; they nearly always individualize and personify 
their ideas. Virtue to a poet is nothing unless it 
is impersonated. A true poet is never abstract or 
dry or formal in his treatment of a subject. It is 
natural for a literary artist, whether in verse or prose, 
to create pictures, to put all his ideas into life forms 
and bring them close to the real ones in nature. 
Homer's idea of wisdom is Minerva, war is Mars, 
strength is Ajax, skill and prudence are Ulysses, 
faithfulness is Penelope. Dickens does not talk about 
schoolmasters in general, but of Squeers. Shake- 
speare's idea of jealousy is not a definition, not a 
formula, but Othello. Those books which have 
enthralled the world, like Robinson Crusoe," Pil- 
grim's Progress," " Gulliver's Travels," Arabian 
Nights," " Evangeline," Ivanhoe," Merchant of 
Venice," — they deal with no form of classified or 
generalized knowledge ; they give us no definitions, 
they are scenes from real life. They stand among 
realities, and their roots are down in the soil of 
things. They are persons hemmed in by the close 
environment of facts. 

This realism, this objectifying of thought, this liv- 
ing form of knowledge, is characteristic of all great 



THE VALUE OF CLASSICS TO THE TEACHER 193 

writers in prose or verse. The novelist, the romancer, 
the poet, the orator, and even the essayist, will always 
put the breath of reality into his work by an infu- 
sion of concreteness, of graphic personification. The 
poet's fancy, building out of the abundant materials 
of sense-experience, is what gives color and warmth 
to all his thoughts. Strong writers make incessant 
use of figures of speech. Their thought must clothe 
itself with the whole panoply of imagery and graphic 
representation in order to be efficient in the warfare 
for truth. 

What a lesson for the teacher ! What models upon 
which to develop his st}^le of thinking ! If the teach- 
ing profession and its work could be weighed in the 
balance, the scale would fall on the side of the 
abstract with a heavy thud. Not that object lessons 
will save us. They only parody the truth. For the 
object lesson as a separate thing we have no use at 
all. But to ground every idea and every study in 
realism, to pass up steadily through real objects and 
experience to a perception of truths which have wide 
application, to science — this is the true philosophy 
of teaching. 

The classic writers lead us even one grand step 
beyond realism. The fancy builds better than the 
cold reason. It adorns and ennobles thought till it 
becomes full-fledged for the flight toward the ideal. 

As the poet, standing by the sea-shore, ponders the 
life that has been in the now empty shell washed up 



194 



SPECIAL METHOD OF CLASSICS 



from the deep, his fancy discovers in the shell a re- 
semblance to human life and destiny, and he cries : — 

" Build thee more stately mansions, O my soul, 
As the swift seasons roll ! 
Leave thy low-vaulted past ! 
Let each new temple, nobler than the last, 
Shut thee from heaven with a dome more vast. 
Till thou at length art free. 

Leaving thine outgrown shell by life's unresting sea ! " 

Is it possible that one could fall under the sway of 
the poets and artists, appropriate their images and 
fruitful style of thought, be wrought upon by their 
fancies, and still remain dull and lifeless and prosaic 
in the class-room ? No wonder that true literature 
has been called the literature of power, as distin- 
guished from the literature of knowledge (supple- 
mentary readers, pure science, information books, 
etc.). The lives and works of our best writers con- 
tain an expansive spiritual energy, which, working 
into the mind of a teacher, breaks the shell of 
mechanism and formality. The artist gives bright 
tints and colors to ideas which would otherwise be 
faded and bleached. 

The study of the best literature adapted to chil- 
dren in each age is a fruitful form of psychology and 
child study. The series of books selected for the 
different grades is supposed to be adapted to the 
children at each period. The books which suit 



THE VALUE OF CLASSICS TO THE TEACHER 1 95 

the temper and taste of children in primary grades 
are pecuUar in quahty, and fit those pupils better 
than older ones. In intermediate classes the boyhood 
spirit, which delights in myth, physical deeds of 
prowess, etc., shows itself, and many of the stories, 
ballads, and longer poems breathe this spirit. In 
grammar grades the expanding, maturing minds of 
children leap forward to the appreciation of more 
complex and extended forms of literature which deal 
with some of the great problems of life more 
seriously, as Snow-Bound," Evangeline," Roger 
de Coverley," Merchant of Venice,'' etc. 

Any poem or story which is suited to pupils of the 
common school may generally be used in several 
grades. Hawthorne's Wonder Book," for instance, 
may be used anywhere from the third to the eighth 
grade by a skilful teacher. But for us the impor- 
tant question is, to what age of children is it best 
adapted ? Where does its style of thought best fit 
the temper of the children ? The eighth grade may 
read it and get pleasure and good from it, but it does 
not come up to the full measure of their needs. Chil- 
dren of the third grade cannot master it with sufficient 
ease, but in the latter part of the fourth or first part 
of the fifth grade it seems to exactly suit the wants, 
that is, the spiritual wants, of the children. It will 
vary, of course, in different schools and classes. Now, 
it is a problem for our serious consideration to deter- 
mine what stories to use and just where each belongs. 



196 SPECIAL METHOD OF CLASSICS 

within reasonable limits. Let us inquire where 
the best culture effect can be realized from each 
book used, where it is calculated to work its best 
and strongest influence. To accomplish this result 
it is necessary to study equally the temper of the 
children and the quality of the books, to seek the 
proper food for the growing mind at its different 
stages. This is not chiefly a matter of simplicity or 
complexity of language. Our readers are largely 
graded by the difficulty of language. But literature 
should be distributed through the school grades 
according to its power to arouse thought and interest. 
Language will have to be regarded, but as secondary. 
Look first to the thought material which is to engage 
children's minds, and then force the language into 
subservice to that end. The final test to determine 
the place of a selection in the school course must be 
the experiment of the class-room. We may exercise 
our best judgment beforehand, and later find that a 
classic belongs one or two grades higher or lower 
than we thought. 

We really need some comprehensive principle upon 
which to make the selection of materials as adapted 
to the nature (psychology) of children. The theory 
of the culture epochs of race history as parallel to 
child development offers at least a suggestion. A 
few of the great periods of history seem to correspond 
fairly well to certain epochs of child growth. The 
age of folk-lore and the fairy tale is often called the 



THE VALUE OF CLASSICS TO THE TEACHER 197 

childhood of the race ; the predominance of the 
imagination and of the childlike interpretation of 
things in nature reminds us strikingly of the fancies 
of children. We find also that the literary remains 
of this epoch in the world's history, the fairy tales, 
are the peculiar delight of children from four to six. 
In like manner the heroic age and its literary prod- 
ucts seem to fascinate the children of nine to eleven 
years. In connection with this theory it is observed 
that the greatest poets of the world in different 
countries are those who have given poetic form and ex- 
pression to the typical ideas and characters of certain 
epochs of history. So Homer, Virgil, Dante, Milton, 
Scott. The best literature is, much of it, the precipi- 
tate of the thought and life of historical epochs in 
race development. Experiment has shown that 
much of this literature is peculiarly adapted to exert 
strong culture influence upon children. Emerson, in 
his " Essay on History,'' says : What is the founda- 
tion of that interest all men feel in Greek history, let- 
ters, art, and poetry, in all its periods, from the Heroic 
or Homeric age down to the domestic life of the 
Athenians and Spartans, four or five centuries later ? 
What but this, that every man passes personally 
through a Grecian period.^" And again : *'The stu- 
dent interprets the age of chivalry by his own age of 
chivalry, and the days of maritime adventure and cir- 
cumnavigation by quite parallel miniature experiences 
of his own. To the sacred history of the world, he has 



198 SPECIAL METHOD OF CLASSICS 

the same key. When the voice of a prophet out of the 
deeps of antiquity merely echoes to him a sentiment of 
his infancy, a prayer of his youth, he then pierces to the 
truth through all the confusion of tradition and the 
caricature of institutions/' The literary heritage of 
the chief culture epochs is destined therefore to enter 
as a powerful agent in the education of children in 
our schools, and the place of a piece of literature in 
history suggests at least its place in child culture. 

The study of these literary masterpieces, the choic- 
est of the world, while it offers a broad perspective 
of history, also enters deep into the psychology of 
children and their periods of growth and change. 
What a study for the teacher! 

Suppose now that a wise selection of the best 
products for school use had been made. The books 
for each grade would respond not only to the ability 
but to the characteristic temper and mental status 
of children at that age. The books would arouse 
the full compass of the children's mental power, 
their emotional as well as intellectual capacities, 
their sympathy, interest, and feeling. The teacher 
who is about to undertake the training of these 
children may not know much about children of that 
age. How can she best put herself into an attitude 
by which she can meet and understand the children 
on their own ground ? Not simply their intellectual 
ability and standing, but, better still, their impulses 
and sympathies, their motives and hearts ? Most 



THE VALUE OF CLASSICS TO THE TEACHER 1 99 

people, as they reach maturity and advance in years, 
have a tendency to grow away from their childhood. 
Their purposes have changed from those of childhood 
to those of mature life. They are no longer interested 
in the things that interest children. Such things seem 
trivial and even incomprehensible to them. 

Now the person who is preparing to be a teacher 
should grow back into his childhood. Without losing 
the dignity or purpose of mature life, he should allow 
the memories and sympathies of childhood to revive. 
The insight which comes from companionship and 
sympathy with children he needs in order to guide 
them with tact and wisdom. 

The literature which belongs to any age of child- 
hood is perhaps the best key to the spirit and dispo- 
sition of that period. The fact that it is of permanent 
worth makes it a fit instrument with which the teacher 
may reawaken the dormant experiences and mem- 
ories of that period in his own life. The teacher 
who finds it impossible to reawaken his interest in the 
literature that goes home to the hearts of children 
has prima facie evidence that he is not qualified to 
stimulate and guide their mental movements. The 
human element in letters is the source of its deep 
and lasting power; the human element in children 
is the centre of their educative life, and he who dis- 
regards this and thinks only of intellectual exercises 
is a poor machine. The literature which children 
appreciate and love is the key to their soul life. It 



200 SPECIAL METHOD OF CLASSICS 



has power to stimulate teacher and pupil alike, and 
is therefore a common ground where they may both 
stand and look into each other's faces with sympathy. 

This is not so much the statement of a theory as 
a direct inference from many observations. It has 
been observed repeatedly, in different schools under 
many teachers, that the ^^Lady of the Lake," "Vision 
of Sir Launfal," " Sleepy Hollow,'' or Merchant of 
Venice " have had an astonishing power to bring 
teacher and children into near and cherished com- 
panionship. It is not possible to express the profound 
lessons of life that children get from the poets. In 
the prelude to Whittier's "Among the Hills," what 
a picture is drawn of the coarse, hard lot of parents 
and children in an ungarnished home, "so pinched 
and bare and comfortless," while the poem itself, a 
view of that home among the hills which thrift and 
taste and love have made, — 

" Invites the eye to see and heart to feel 
The beauty and the joy within their reach ; 
Home and home loves and the beatitudes 
Of nature free to all." 

To Study such poetry in its effect upon children is a 
monopoly of the rich educational opportunity which 
falls naturally into the hands of teachers. Psychol- 
ogy, as derived from text-books, is apt to be cold 
and formal ; that which springs from the contact of 
young minds with the fountains of song lives and 
breathes. If a teacher desires to fit herself for 



THE VALUE OF CLASSICS TO THE TEACHER 201 

primary instruction, she can do nothing so well calcu- 
lated to bring herself en rapport with little children 
as to read the nursery rhymes, the fairy tales, fables, 
and early myths. They bring her along a charming 
road into the realm of childlike fancies and sympa- 
thies, which were almost faded from her memory. 
The same door is opened through well-selected 
literature to the hearts of children in intermediate 
and grammar grades. 

The sense of humor is cultivated in literature 
better than elsewhere. In fact, no other study 
contains much material of humorous quality. A 
quick sense of it is deemed by many of the best 
judges an indispensable quality in teachers. Not 
that a teacher needs to be a diverting story-teller 
or entertainer, if only he has an indulgent patience 
and kindly sympathy for those who enjoy telling 
stories. There is a certain hearty, wholesome social 
spirit in the enjoyment of humor which diffuses 
itself Hke sunlight through a school. It contains an 
element of kindliness, humanity, and good fellowship 
which lubricates all the machinery and takes away 
unnecessary stiffness and gravity in conduct. Best 
of all it is a sort of mental balance-wheel for the 
teacher, which enables him to see the ludicrous 
phases of his own behavior, should he be inclined 
to run to foolish extremes in various directions. 
Much of our best literature abounds in humorous 
elements. Lowell, Holmes, Shakespeare, and Irving 



202 SPECIAL METHOD OF CLASSICS 

are spontaneously rich in this quality of ore, and it 
is just as well perhaps to cultivate our appreciation 
in these richer veins as in shallow and unproductive 
ones elsewhere. 

Schlegel says of Shakespeare, his comic talent 
is equally wonderful with that he has shown in the 
pathetic and tragic ; it stands at an equal elevation 
and possesses equal extent and profundity. . . . Not 
only has he delineated many kinds of folly, but even 
of sheer stupidity he has contrived to give a most 
diverting and entertaining picture." 

The inability to appreciate the ludicrous and farci- 
cal, and especially of witty conceits, is felt to be a 
mark of dulness and heaviness, and in dealing with 
children and young people a versatile perception of 
the humorous is very helpful. Many of the pupils 
possess this quality of humor in a marked degree, 
and the teacher should at least have sufficient insight 
to appreciate this peculiar bent of mind and turn of 
wit. 

A brief retrospect will make plain the profitable- 
ness of classics to the teacher. They show a deep 
perspective into the spirit and inner workings of his- 
tory. The social life and insight developed by the 
study of literature give tact and judgment to under- 
stand and respect the many-sided individualities 
found in every school. The teacher's own moral and 
esthetic and rehgious ideals are constantly lifted and 
strengthened by the study of classics. Such reading 



THE VALUE OF CLASSICS TO THE TEACHER 203 

is a recreation and relief even in hours of weariness 
and solitude. It is an expansive spiritual power 
rather than a burden. Literary artists are also a 
standing illustration of the graphic, spirited manner 
of handling subjects. Finally, this rich and varied 
realm of classic thought and expression is the door- 
way by which we enter again into the moods and 
impulses and fancies of childhood. We thus revive 
our own youth and fit ourselves for a quick and ap- 
preciative perception of children's needs. It is the 
best kind of child study. 

A few of the books which are suggestive, and illus- 
trate the value of literature for teachers, and in some 
cases even lay out lines of profitable and stimulative 
reading, are as follows : — 

Newell Dwight Hillis. Great Books and Life Teachers. (Flem- 
ing H. Revell Co.) 

George Willis Cooke. Poets and Problems. (Houghton, Mif- 
flin, & Co.) 

The Schoolmaster in Literature. (The American Book Co.) 
Representative Essays. (G. P. Putnam's Sons.) 
Hamilton Wright Mabie. Books and Culture. (Dodd, Mead, 
& Co.) 

James Baldwin. The Book Lover. (A. C. McClurg & Co.) 
The Schoolmaster in Comedy and Satire. (The American Book 
Co.) 

Emerson's Essays. 

SchlegePs Dramatic Art and Literature. (Bohn^s Libraries.) 
Ruskin s Sesame and Lilies, and Seven Lamps of Architecture. 
Thomas Wentworth Higginson. Book and Heart. (Harper & 
Brothers.) 



204 SPECIAL METHOD OF CLASSICS 

Carlyle's Heroes and Hero-Worship. 

Counsel upon the Reading of Books. Van Dyke. (Houghton, 
Mifflin, & Co.) 

Literary and General Essays. Charles Kingsley. (Macmillan 
& Co.) 



CHAPTER VII 



LIST OF BOOKS 

The following list of books, arranged according to 
grades, is designed to supply the children of the five 
grades, from the fourth to the eighth inclusive, with 
excellent reading matter in the form of complete 
masterpieces of American and EngUsh literature. 
It includes, besides the books for regular reading 
lessons, a large list of collateral and closely related 
works for the children and also for teachers. 

The books of these lists contain a rich and varied 
fund of finest culture material, first of all for the 
teacher, and, through her spirit and enthusiasm, for 
the children, 

Besides the general discussions of these books in 
the preceding chapters, a few additional explanations 
are necessary to make plain the grounds upon which 
this particular selection and arrangement of books is 
based. The whole purpose of the preceding chapters 
is to throw light upon this list, and to qualify the 
teacher for an intelligent and efficient use of these 
books as school readers. 

I. The books apportioned to each grade or year 
are divided into three series. The first series is care- 

205 



206 SPECIAL METHOD OF CLASSICS 

fully selected to serve as regular reading-books for 
that grade. Almost without exception they are com- 
plete works, or collections of complete poems, stories, 
etc. Many of them are very familiar and have been 
much used in the schools. The number of books for 
each grade is large, so as to have room for choice 
and adaptation to each class. 

The second series consists of closely related collat- 
eral readings derived from a much wider range of 
books in literature, history, and science. Many of 
these books of the second Ust are not so strictly mas- 
terpieces of literature, but of a secondary rank as 
prose renderings of the great poems, myths, and 
stories of other languages, also American and Euro- 
pean history stories. These materials are well adapted 
for the reference studies and home readings of chil- 
dren. They all deal with interesting and worthy 
subjects of thought in a superior style. Many of 
these books, however, are great and permanent works 
of literature. They are materials, also, which the 
teacher should be familiar with. They should be 
constantly referred to and discussed in connection 
with the first series. It is quite probable that some 
teachers will prefer books of the second series for 
regular reading in the place of some suggested in 
the first series. 

The third series consists of books for teachers, in- 
cluding great works of literature, history, and science, 
which will enrich the teacher's knowledge and con- 



LIST OF BOOKS 



207 



tribute to a broader enthusiasm and culture. The 
writings of some of the great essayists, as Ruskin, 
Carlyle, Emerson, Kingsley, Motley, Lowell, Huxley, 
Macaulay, and others, are peculiarly fit to broaden 
the teacher's horizon and ennoble his purpose. Some 
of the best poems and novels suitable for advanced 
study are mentioned. There are also books which 
deal in a comprehensive and critical, but sympathetic, 
way with important literary topics, as the myths and 
great epics, the age of chivalry, and the lives of the 
most eminent writers. Some of the best works of 
biography and history are also suggested for teachers, 
and a number of the best professional and pedagogi- 
cal books for teachers, dealing with literature, read- 
ing, and child study. 

2. This list of books is of course tentative. There 
are other literary works as good, perhaps, but not a 
few difficulties stand in the way of the best selection. 
A few of the best materials are scattered in books 
not available for school purposes. Some of the finest 
of our longer classics have not been tested much in 
school use. There is, however, an abundance of 
choice English works, complete, well printed and 
bound, in cheap, schoolbook form. The chief diffi- 
culty, after all, is in selecting and arranging the best 
of an abundant and varied collection of excellent lit- 
erature. This inspiring problem lies but partly solved 
at the threshold of every teacher's work. It requires 
extensive knowledge of literature and experience in 



208 



SPECIAL METHOD OF CLASSICS 



its use in classes. A masterpiece may be read in 
several grades, and teachers will differ in judging 
its true place. Schools and classes differ also in 
their capacity and previous preparation for classic 
readings, so that no course of reading will fit all 
schools, or, perhaps, any two schools. Many princi- 
pals will prefer to use the books one or two grades 
lower, or higher, than here indicated. Every teacher 
should use such a list according to his best individual 
judgment as based upon the needs of his school. 
This list was discussed and partly made out in con- 
ference with a number of experienced superintend- 
ents, and much variety of opinion was expressed as 
to the best grade for the use of a number of the 
selections. 

3. The books chosen for each grade are designed 
to be a suitable combination of prose and poetry, of 
short and long selections from history, science, and 
letters. Variety in subject-matter and style is required 
in each grade, although certain strong individual 
characteristics are expected to appear in the litera- 
ture of each year's work. Many of the shorter poems 
fit in well with longer masterpieces in prose and 
verse. Some of the epics, myths, and historical epi- 
sodes are told in both prose and verse. The chil- 
dren may well meet and study them in both forms. 
If from four to six larger masterpieces could be read 
each year, and these could bring out the style and 
quality of so many authors, if a number of suitable 



LIST OF BOOKS 



209 



shorter pieces could be read and related to the for- 
mer, the many-sided influence of literature would 
prove each year effective. Literature is the broadest 
of all subjects, both as a basis of culture and for the 
unification of the varied studies. It touches every 
phase of experience and knowledge along its higher 
levels, and overlooks the whole field, of life from the 
standpoint of the seer and poet. The classic read- 
ings should aim at the completeness, variety, and 
elevation of thought which literature alone can give. 
Every year's literature should open the gates to 
meadow and woodland, to park and fruitful fields, 
into rich and shaded valleys, and up to free and 
sunny hilltops and mountains. 

4. The list of books for each year includes two or 
three books of miscellaneous collections of classics in 
prose and verse. Many of the selections are short and 
some fragmentary. Such are the three volumes of 

Open Sesame,'vthe Golden Treasury of Songs and 
Lyrics," Children's Treasury of English Song," and 
" Book of Golden Deeds." In each of the books named 
is found a variety of material suited perhaps to two 
or three grades. In most of the books just named it 
is not intended in our plan that all the selections 
should be read through in succession. It will be 
better for the teacher to select from those collections 
such choice poems, stories, etc., as will enrich and 
supplement the longer classics, and give that added 
variety so needful. Many of the finest poems in 



2IO 



SPECIAL METHOD OF CLASSICS 



our language are short, and should not be omitted 
from our school course. They should be read and 
some of them memorized by the children. It would 
be well if the teacher had in each grade one or two 
sets of such books of choice miscellaneous materials 
from which to select occasional reading. The regular 
readers used by the children would consist of the 
longer masterpieces, which would be supplemented 
by the shorter selections. In this way greater unity 
and variety might be achieved within the limits of 
each grade. 

5. Information books and supplementary readers 
in history, geography, and natural science have been 
excluded, in the main, from our lists. The test of 
literary excellence has been applied to most of the 
books chosen. De Quincey's distinction between the 
literature of knowledge and that of power is our line 
of demarkation. It seems to us probable that the 
future will call for a still more stringent adherence to 
this principle of selection. Information readers are 
good and necessary in their place in geography, 
history, and natural science ; but they are not good 
enough to take the place of classics in reading lessons. 
The only exceptions to the rule of classics are the 
prose renderings of the old classics, as the " Story of 
the Odyssey,'' and the biographical stories from his- 
tory. Both these have so much of interest and stimu- 
lus for the young that they seem to harmonize with our 
plan. But criticism may yet expose their inadequacy. 



LIST OF BOOKS 211 

It is our plan, in brief, to limit the reading work 
mainly to the choice masterpieces of the best authors, 
and to render these studies as fruitful as possible in 
spiritual power. If supplementary readings are used 
at all, let them be those which will strengthen the 
influence of the classics. 

It has been our plan to collect in the Special 
Method Books devoted to geography, history, and 
natural science, a full list of the supplementary 
readers and information books in those subjects. 

6. In our list, however, is included quite a number 
of classic renderings of science and nature topics. 
Such are *'Wake Robin," Birds and Bees," "A 
Hunting of the Deer," etc., Sharp Eyes" etc., 
" Succession of Forest Trees," " Up and Down the 
Brooks," Water Babies," *'The Foot-path Way," 
" Madam How and Lady Why," "Wilderness Ways," 
" In Bird Land," and many others. 

These books, however, belong to the literature of 
power. They look at nature through the eyes of 
poet and artist and enthusiast. They are not cold, 
matter-of-fact delineations. They unfold the aesthetic 
and human side of nature, the divinity of flower and 
tree. These books are the communings of the soul 
with nature, and are closely related in spirit to the 
poems of nature in Bryant, Wordsworth, Tennyson, 
and other poets. There has been a chasm between 
them and our text-books in science which needs 
bridging over. Now that science is beginning to be 



212 SPECIAL METHOD OF CLASSICS 

taught objectively, experimentally, and inductively, 
there will be much less of a hiatus at this stage, be- 
cause there is so much that is powerfully stimulating 
in nature study. 

7. Some books are named twice in the lists, first as 
books of reference, or in the teacher's Hsts, and in a 
later grade for the use of children in regular reading. 
We have been especially careful in selecting appro- 
priate books in the first list for each grade adapted 
to the age of the children. These books for regular 
reading must be used by every child, so that they 
should be fitted to the averasre abilitv. The reference 

O J 

books for collateral reading in the second series of 
each grade may be more difficult in some cases, as 
they will be used, in part, only by the stronger pupils. 

There are certain groups of kindred books, like the 
Greek myths, that are distributed through three or 
more grades. It is not expected that any child will 
use all of these books, as several of them may deal 
with the same storv, like the Iliad " or Odvssev." 
It seemed best to include all the important renderings 
of these stories, and leave the teacher to choose 
among them for his class. 

8. To give more specific aid to teachers, most of 
the books are briefly described, and some notion of 
their special worth and fitness indicated. It is hoped 
that these short descriptions will be of considerable 
help to young teachers in making selections for their 
classes. 



LIST OF BOOKS 



213 



9. Many of the best and most commonly used 
books are published by several companies. In such 
cases the names of the different publishers are indi- 
cated in connection with each book. 

10. By an examination of these lists the teacher of 
any grade will discover that, in order to teach well, 
she must be acquainted with the books used in one 
or two grades, both above and below her own. All 
the chief groups of books in literature run through 
three or four grades, and the teacher in any grade 
needs to get a comprehensive view of the important 
groups of books used in her classes. In addition to 
this, the books recommended for teachers give a still 
more definite and comprehensive grasp of large 
classes of literary material. The books recommended 
for teachers could be indefinitely extended, but it is 
hoped that enough are mentioned to give definiteness 
to their wider studies, and to serve as an introduction 
to some of the larger fields of literature, science, and 
history. 

11. There are certain peculiar difficulties connected 
with the reading of longer classics which are much 
less frequently met with in the usual school readers. 
These difficulties are of such a real and serious kind 
that many teachers are apt to be discouraged before 
success is attained. Complete classics Hke Webster's 
speeches, Julius Caesar," Snow-Bound," '^Mar- 
mion," and Evangeline '' have been regarded as 
too long and difficult for school purposes. We have 



214 



SPECIAL METHOD OF CLASSICS 



found, however, that the greater length, if rightly 
utilized, only intensifies the effect of a masterpiece. 
The chief objection is the greater language difficulty 
(hard and unusual words, proper names, etc.) of the 
longer classics. This is a real obstacle and must be 
fairly met. It is impossible to grade down the language 
and thought of a great writer. It is necessary to bring 
the class up to his level rather than bring him down 
to theirs. This requires time and skill and persever- 
ance on the teacher's part, and labor and thought in 
the children. It may require a week or a month to 
get a class well under way in " Lady of the Lake," 

King of the Golden River," or the Sketch-Book." 
But when well done it is a conquest of no mean 
importance. The language, style, and characteristics 
of the author are strange and difficult. The scales 
must drop from children's eyes before they will 
appreciate Ruskin or Tennyson or Emerson. The 
wings of fancy, the aesthetic sense, do not unfold in 
a single day. But if these initial difficulties can be 
overcome, we shall emerge soon into the sunlight of 
interest and success. It takes a degree of faith in 
good things and patience under difficulties to attain 
success in classic readings. Even when the teacher 
thinks he is doing fairly well, the parents sometimes 
say the work is too hard and the verbal difficulties 
too great. Generally, however, parents are satisfied 
when children work hard and are interested. 

Again, children whose reading in the lower grades 



LIST OF BOOKS 



215 



has been of the information order lack the imagi- 
native power that is essential to the grasp and enjoy- 
ment of any masterpiece. The sleeping or dulled 
fancy must be awakened. The power to image 
things, so natural to the poet, must be aroused and 
exercised. The lack of training in vivid and poetic 
thought in early years is sure to make itself felt in 
deficient and languid thought and feeling in the 
higher grades. But we cannot afford to give up 
the struggle. We may be forced to begin lower 
down in the series of books, but anything less than 
a classic is not fit for the children. 

12. The leading publishing houses are now com- 
peting vigorously in bringing out the best complete 
classics in cheap, durable, well-printed form for 
school use. In our list the names of the publishers 
are given. Most of the companies can be addressed 
in Boston, Chicago, New York, or San Francisco. 
Most of the books bound in boards or cloth range 
in price from twenty-five to fifty cents. The pam- 
phlet editions are from ten to fifteen cents. The 
larger books of miscellaneous collections and some 
of the science classics range from seventy-five cents 
to a dollar and a quarter. A few of the books are 
priced as high as two dollars. 

13. Before final publication, the following lists of 
books have been submitted to the criticism of a num- 
ber of able superintendents and to the leading pub- 
lishing houses. In consequence considerable changes 



2l6 



SPECIAL METHOD OF CLASSICS 



and additions have been made. The chief criticism 
offered was that the books, in a number of cases, are 
too difficult for the grades indicated. To meet this 
objection a few changes were made, while in several 
cases books are described as suitable for two or three 
grades. 

For the sake of quick and easy reference in find- 
ing any book, an alphabetical list of the titles of all 
the books is given at the close, and the page indi- 
cated where each book may be found in the descrip- 
tive list. 

FOURTH GRADE 

I. BOOKS FOR REGULAR READING LESSONS 

Hawthorne's Wonder Book. Houghton, Mifflin, & Co.; Edu- 
cational Publishing Co. 
Has been very extensively used in fourth and fifth grades, 
and even in sixth. A book of standard excellence. 
Kingsley's Greek Heroes. Ginn & Co. ; The Macmillan Co. 
Much used. Excellent. Covers much the same ground as 
the Wonder Book and is preferred by some to it. 
Stories from the Arabian Nights. Houghton, Mifflin, & Co. 
Excellent. It contains some of the most familiar stories, as 
Aladdin, in simple form. 
Whittier s Child Life in Poetry and Prose. Houghton, Mifflin, & Co. 
An excellent selection of poems and stories of child life by 
Whittier. It has many simple poems and stories, as 
Barefoot Boy. John Gilpin, etc. Also for fifth grade. 
Fanciful Tales (Stockton). Scribners Sons. 

Very pleasing and well-told stories for children. It has not 
been extensively used for reading as yet. 



LIST OF BOOKS 



217 



Book of Tales. American Book Co. 

A good collection of old fairy tales, stories, and poems. It 
has been extensively used. 
Old Testament Stories in Scripture Language. Houghton, Mif- 
flin, & Co. Abraham, Joseph, Moses, and others. 
The patriarchal stories in familiar Bible language. It may 
be a little difficult for the first part of the year. 
Round the Year in Myth and Song (Holbrook). American 
Book Co. 

A fine collection of nature poems for occasional use through- 
out the year. 
Bird-World ( Stickney-HofFman) . Ginn & Co. 

An interesting collection of bird stories and descriptions. 
Simple. A good book to encourage observation of birds. 
Nature in Verse (Lovejoy). Silver, Burdett, & Co. 

An excellent collection of nature poems arranged by the 
seasons. 

Book of Legends (Scudder). Houghton, Mifflin, & Co. 
Andersen's Fairy Tales. First and Second Series. Ginn & Co. 
Grimm's Household Tales. Houghton, Mifflin, & Co. 
Four Great Americans (Baldwin). Werner School Book Co. 
Hans Andersen Tales. The Macmillan Co. 
Squirrels and Other Fur-Bearers (Burroughs) . Houghton, Mif- 
flin, & Co. 

Very entertaining, but somewhat difficult in language. Use 
toward the end of the year, and in fifth grade. 
Peabody's Old Greek Folk Stories. Houghton, Mifflin, & Co. 

Simple and well written. It supplements the Wonder Book. 
King Arthur and his Court (Greene) . Ginn & Co. 

A recent book. Simple in style and pleasing to children. 
The Howells Story Book. Scribner's Sons/ 

2. SUPPLEMENTARY AND REFERENCE BOOKS 

Stories of Our Country (Johonnot). American Book Co. 

Good American stories for children to read at home or 
school. 



2l8 



SPECIAL METHOD OF CLASSICS 



Tales from the Faerie Oueene.** The Macmillan Co. 

For reference and horary. 
Bimbi (De la Ramee). Ginn & Co. 

The Niirnberg Stove and other good stories. Good for 
home reading and for school work. 
The Niirnberg Stove. Maynard. Merrill, vS: Co. ; Houghton, 

Miniin. ^'c Co. 
Gods and Heroes (Francillon). Ginn &. Co. 

Suitable to late fourth and nfth grades for collateral read- 
ing. Simple in style. 
Waste Not. Want Not (Edgeworth). Ginn & Co.: D. C. 
Heath. & Co.: Houghton. Mifiin, «S: Co. 
Practical stories for children, illustrating foresight, economy, 
etc. 

A Ballad Book (Bates). Sibley 6c Ducker. 

A good collection of the older, simpler ballads. These bal- 
lads should be distributed through the year. Good for 
supplementary reading, also for drill in reading. 
The StoiT of Ulysses (Cook). Public School Pubhshing Co. 

An excellent rendering, sometimes used as a reader. 
Friends and Helpers (Eddy). Ginn vS: Co. 

Stories of animals and birds. Instiaictive. 
Hans Andersen Stories. Houghton, Mi^in. vS: Co. 
Tommy- Anne and the Three Hearts (Wright). The MacmO- 
lan Co. 

First Book of Birds (.Miller). Houghton, Miniin. & Co. 

Very simple and interesting descriptions and accounts of 
common bu'ds. Will help to interest the children in 
nature. 

The Little Lame Prince. Maynard, Merrill, & Co. ; D. C. 

Heath & Co. 
A story for home reading. 
The Dog of Flanders. ^^laynard. iMerrill, &. Co. : Houghton, 

Mifiin. 6c Co. : Educational Publishing Co. 
An excellent story for children to read at home or in school. 

Pathetic. 

Old Stories of the East (Baldwin). American Book Co. 



LIST OF BOOKS 



219 



A pleasing treatment of the old Bible stories^ not in Bible 
lanoaiao:e. Well written. 
Fairy Tales in Prose and Verse (Rolfe). American Book Co. 

A choice collection of stories and poems. 
Heroes of Asgard. The Macmillan Co. 

A good simple treatment of the Norse myths. Suitable for 
supplementary and sight reading. 
Tales of Troy (De Garmo). Public School Publishing Co. 

A simple narrative of the Trojan war. Supplementary. 
Our Feathered Friends (Grinnell). D. C. Heath & Co. 

Instructive book on birds. 
Alice's Adventures in Wonderland (Carroll). The Macmil- 
lan Co. ; Educational Publishing Co. 
Very suitable for home and family reading. Younger chil- 
dren enjoy it much. Entertaining. 
Jackanapes, The Brownies (Mrs. Ewing). Houghton, Mifflin, 
& Co. 

Through the Looking Glass (Carroll). The Macmillan Co.; 

Educational Pubhshing Co. 
The Merry Adventures of Robin Hood (Pyle). Scribner's Sons. 
An expensive book (about three dollars). Excellent stories 

to read to children. Full of humor and adventure. 

Finely illustrated. A good book for school and home 

library. 

Open Sesame, Vol. I and Vol. H. Ginn & Co. 

A fine collection of the best poems of nature, heroism, 
Christmas time, etc. Ballads and stories. They are 
adapted to children in several grades, and should be used 
for reading, memory w^ork, and for recitation. 

Stories of the Old World (Church). Ginn & Co. 

Good reading matter for fourth and fifth grades. Interest- 
ing for supplementary reading. 

Stories of American Life and Adventure (Eggleston). Ameri- 
can Book Co. 

Black Beauty. Educational Publishing Co. ; University Pub. Co. 
Children's Treasury of English Song. The Macmillan Co. 
A collection of poems for occasional use. 



220 



SPECIAL METHOD OF CLASSICS 



Little Lord Fauntleroy. Scribner's Sons. 

A famous story for home reading. A book for libraries. 
Heroes of the Middle West (Catherwood). Ginn & Co. 

Stories for later fourth and fifth grades. A good book for 
supplementary reading. Also for sixth grade. 
Old Norse Stories (Bradish). American Book Co. 

Stories for reference reading and sight reading. 
Stories from Plato (Burt). Ginn & Co. 

Simple myths and stories for home reading. 
The Eugene Field Book. Scribner's Sons. 

Pleasing and entertaining for younger children. Prose and 
verse, humorous and pathetic. 
Stories from Old Germany (Pratt). Educational Publishing Co. 

A simple, interesting rendering of the story of Siegfried. 
Secrets of the Woods. Ginn & Co. 
Norse Stories (Mabie). Dodd, Mead, & Co. 

An excellent rendering of the Norse stories. Simple. 
Fifty Famous Stories Retold (Baldwin). American Book Co. 

Simple and well told. 
Pioneers of the Revolution. Public School Publishing Co. 

A simple narrative of pioneer life and conflict in the South- 
west during the Revolution. 

3. TEACHERS' BOOKS 

Story of the Iliad (Church). The Macmillan Co. 

A reference book for outside reading. 
Emerson's Essays. Second Series. Houghton, MifHin, & Co. 

Essays on the poet, manners, character, etc. Inspiring 
reading for the teacher. 
Myths of the Northern Lands (Guerber). American Book Co. 
Readings in Folklore (Skinner). American Book Co. 

Good general introduction to the folklore of modem Euro- 
pean countries. 
History and Literature (Rice). A. Flanagan. 

A discussion of books and materials for teachers. 
Being a Boy (Warner). Houghton, Mifflin, & Co. 



LIST OF BOOKS 



221 



David Copperfield (Charles Dickens). 
Talks to Teachers (James). 

Sesame and Lilies (Ruskin). Houghton, Mifflin, & Co. ; The 
Macmillan Co. 

Tales of a Traveler (Irving). American Book Co. ; Maynard, 

Merrill, & Co. 
Poetry for Children (Eliot). Houghton, Mifflin, & Co. 

A good collection for miscellaneous uses in the school. 
California and Oregon Trail (Parkman) . Hurst & Co. ; Little, 
Brown, & Co. 
Interesting descriptions of Indian and Western life. 
Story of the Odyssey (Church). The Macmillan Co. 

Good for reference and general reading. 
Literature in Schools (Scudder). Houghton, Mifflin, & Co. 

A series of three excellent papers on the use and value of 
literature in schools. Especially valuable for teachers. 
Children's Stories of American Literature (Wright). Scribner's. 
Short biographies of American writers in two small 
volumes. 

The Age of Fable (Bulfinch). Lee & Shepard. 

One of the best general treatises on mythology. 
National Epics (Rabb). A. C. McClurg. 

A good introduction and extracts from the great epic poems 
of all nations. 
In Bird Land (Keyser). A. C. McClurg. 

Delightful reading and suggestive to teachers. 
The Ways of Wood Folk (Long) . Ginn & Co. 

Very pleasing stories of animal life for children and 
teachers. 

Nature Pictures by American Poets (Marble) . The Macmillan Co. 
La Salle and the Discovery of the Great West (Parkman). 
Little, Brown, & Co. 
Very interesting account of the exploration of the Great 
Lakes and the Mississippi River. 
The Discovery of America, two volumes (Fiske). Houghton, 
Mifflin, & Co. 
Valuable account of Columbus and other explorers. 



222 



SPECIAL METHOD OF CLASSICS 



The Beginnings of New England (Fiske). Houghton, Mif- 
flin, & Co. 
Excellent. 

The Story-Teller's Art (Dye). Ginn & Co. 

A book designed for high school teachers, but good also 
for teachers in the grades. 
The Winning of the West (Roosevelt). Putnam. 
Leonard and Gertrude (Pestalozzi). D. C. Heath & Co. 
Jean Mitchell's School. Public School Publishing Co. 
The Pilot (Cooper). American Book Co. ; University Pub. Co. 



FIFTH GRADE 

I. BOOKS FOR REGULAR READING LESSONS 

Hiawatha. Houghton, Mifflin, & Co. ; The Macmillan Co. ; 
Educational Publishing Co. ; University Pub. Co. 
Well suited for reading. Used in several grades. 
Lays of Ancient Rome (Macaulay) . Maynard, Merrill, & Co. ; 
Houghton, Mifflin, & Co. ; The Macmillan Co. ; Educa- 
tional Publishing Co. ; American Book Co. 
The four ballad poems. Good school reading for children. 
Names somewhat hard at first. Very stimulating and 
heroic. Used also in sixth grade. 
King of the Golden River (Ruskin). Ginn & Co.; The Mac- 
millan Co. ; Houghton, Mifflin, & Co. ; D. C. Heath 
& Co. ; Maynard, Merrill, & Co. 
Much used. Excellent story and reading. 
Tanglewood Tales (Hawthorne). Houghton, Mifflin, & Co. 

Companion book to the Wonder Book. Excellent matter 
for reading. 

Water Babies (Kingsley). Ginn & Co.; The Macmillan Co.; 
Educational Publishing Co. ; Maynard, Merrill, & Co. 
Interesting story. Good also for home reading. Better, 
perhaps, for sixth grade. 



LIST OF BOOKS 



223 



Ulysses among the Phaeacians (Bryant). Houghton, Mif- 
flin, & Co. 

Simple and easy. Poetic in its rendering. Better for sixth 
grade in some classes. 
Tales from English History (prose and verse). American Book 
Company. 

Stories and ballads of the leading periods of English history 
from the best authors. Illustrated. 
Gulliver's Travels. Houghton, Mifflin, & Co.; Ginn & Co.; 
The Macmillan Co. ; Educational Publishing Co. 
Somewhat difficult in spots. Very interesting to boys and 
girls. For some classes use in sixth grade. 
Adventures of Ulysses (Lamb) . Ginn & Co. ; D. C. Heath 
& Co. 

Well told, giving complete outline of the whole story. 
Heroic Ballads. Ginn & Co. 

Scotch and English and many later and American bal- 
lads. 

The Pied Piper and Other Poems (Browning). Houghton, 
Mifflin, & Co. 
Also other poems and ballads of Browning. 

Tales from Scottish History (Rolfe). American Book Co. 

Some Merry Adventures of Robin Hood (Pyle). Scribner's 
Sons. Shorter School Edition. 
Humorous and entertaining. 

Little Daffydowndilly and Biographical Stories (Hawthorne). 
Houghton, Mifflin, & Co. The latter for sixth grade. 

Stories of American Life and Adventure (Eggleston). Ameri- 
can Book Co. 

The Ways of Wood Folk (Long) . Ginn & Co. 

An excellent nature book for children, entertaining, instruc- 
tive, and well written. 

Gulliver's Voyage to Lilliput (Swift). Maynard, Merrill, 
& Co. 

Squirrels and Other Fur-Bearers (Burroughs) . Houghton, Mif- 
flin, & Co. 

The Children's Hour (Longfellow). Houghton, Mifflin, & Co. 



224 



SPECIAL METHOD OF CLASSICS 



2. SUPPLEMENTARY AND REFERENCE BOOKS 

Arabian Nights (Hale). Ginn & Co. 

Many of the best stories of the collection, including a num- 
ber of the less familiar ones. Also for regular reading. 
Ten Boys on the Road from Long Ago. Ginn & Co. 

A book interesting and much used. Good for reading in 
fourth, fifth, and sixth grades. Also for sight reading. 
Robinson Crusoe. Ginn & Co. ; D. C. Heath & Co. ; American 
Book Co. ; University Publishing Co. 
Much reduced and simpHfied from the original. A complete 
and more difficult edition is published by Houghton, Mif- 
flin, & Co. 

The Odyssey of Homer (Palmer). Houghton, Miffliin, & Co. 
A complete prose translation of the entire Odyssey. Prob- 
ably the best. Good for fifth and sixth grades. 
Bryant's Odyssey. Houghton, Mifflin, & Co. 

A simple, poetic rendering of the whole Odyssey. A good 
teacher's book. Use parts in class. 
Bryant's Iliad. Houghton, Mifflin, & Co. 

Complete poetic translation. One of the best. 
Heroes of the Middle West (Catherwood) . Ginn & Co. 

Good stories of the early French explorers of the Great 
Lakes and the Mississippi Valley. Somewhat difficult. 
Pope's Iliad. The Macmillan Co. ; Ginn & Co. ; American Book 
Co. ; Silver, Burdett, & Co. ; D. C. Heath & Co. 
A famous rendering of the old Greek story. Still better 
for sixth grade. 
A Story of the Golden Age (Baldwin). Scribner's Sons. 
Secrets of the Woods (Long). Ginn & Co. 
Old Greek Story (Baldwin). American Book Co. 
Arabian Nights (Clarke). American Book Co. 
Colonial Children (Hart). The Macmillan Co. 

Simple and well-chosen source material. Excellent. 
Krag and Johnny Bear (Seton). Scribner's Sons. 
Poems of American Patriotism (Matthews). Scribner's Sons. 
Ballads and Lyrics. Houghton, Mifflin, & Co. 



LIST OF BOOKS 



225 



Stories from Herodotus. Maynard, Merrill & Co. ; The Mac- 
millan Co. 

Simple and interesting stories. Good also for sixth grade. 
Jason's Quest. Sibley & Ducker. 

The story of Jason told in full. Interesting and well written. 
Book of Golden Deeds. The Macmillan Co. 

A fine collection of historical and famous stories. For sixth 
grade also. 

Historical Tales. American (Morris). J. B. Lippincott. 

One of the best collections of American stories. 
Greek Gods, Heroes, and Men. Scott, Foresman, & Co. 

A collection of Greek stories, both mythical and historical. 
The Story of the English (Guerber). American Book Co. 

A complete series of English history stories arranged chrono- 
logically, good for fifth and sixth grades. 
Tales-of Chivalry (Rolfe). American Book Co. 

Good stories from Scott, mostly from Ivanhoe. Also the 
early Hfe of Scott. Good for fifth and sixth grades. 
Boy's King Arthur (Lanier). Scribner's Sons. 

A very interesting story for boys and girls. A good library 
book ($2. 00). 
The Story of Siegfried (Baldwin). Scribner s Sons. 

A fall and attractive story of Siegfried's adventures. A good 
library book ($2.00). 
Pioneer History Stories (McMurry). Three volumes. The 
Macmillan Co. Also for sixth year. 
Early pioneer stories of the Eastern states, of the Mississippi 
Valley, and of the Rocky Mountains. 
Open Sesame. Part II. Ginn & Co. 

A good collection of poems arranged in important classes. 
The Stor}' of the Greeks (Guerber). American Book Co. 

Leading stories of Greek myth and history. For fifth and 
sixth grades. 
The Story of Troy. American Book Co. 

A short narrative of the Trojan War. 
Story of the Odyssey (Church). The Macmillan Co. 
Library book for general reading. Simple. 
Q 



226 



SPECIAL METHOD OF CLASSICS 



The Story of Roland (Baldwin). Scribner's Sons. 

Large book for library. Good. 
The Hoosier School Boy (Eggleston). Scribner's SoxisT 
American Explorers (Higginson). Lee & Shepard. 

Excellent descriptions of early explorations. Good source 
material for pupils and teachers. Also for sixth grade. 
The Children's Life of Abraham Lincoln (Putnam). A. C. 

McClurg. Also for sixth and seventh grades. 
Four American Naval Heroes (Beebe). Werner School Book 
Company. Sixth grade also. 
A simple narrative of great naval conflicts. 
Lobo, Rag, and Vixen (Seton). Scribner's Sons. 



3. TEACHERS' BOOKS 

Beginnings of New England and Discovery of America, two 
volumes (Fiske). Houghton, Mifflin, & Co. 

Good library books for teacher. 
Sesame and Lilies (Ruskin) . The Macmillan Co. 

A very stimulating and suggestive book for teachers. 
The Golden Age (Kenneth and Grahame) . John Lane. 
Moral Instruction of Children (Adler). D. Appleton & Co. 
Childhood in Literature and Art (Scudder). Houghton, Mif- 
flin, & Co. 

An instructive book for teachers. 
Readings in Folk Lore (Skinner) . American Book Co. 

Valuable source book. 
Wilderness Ways (Long). Ginn & Co. 

Entertaining to both teachers and pupils. 
The Story of Our Continent (Shaler) . Ginn & Co. 

An interesting geological history of North America. 
Historical Tales, English (Morris). J. B. Lippincott. 

Excellent materials for reference work. 
Westward Ho! (Kingsley). The Macmillan Co.; University 
Publishing Co. 

A good story of the time of Elizabeth, Drake, and Raleigh. 



LIST OF BOOKS 



227 



Samuel de Champlain (Sedgwick). Houghton, Mifflin, & Co. 
A short and interesting biography. Other books of the 
same Riverside Biographical Series are, WilHam Penn, 
Lewis and Clark, George Rogers Clark, and Paul Jones. 

History and Literature (Rice). Flanagan. 

A brief pedagogical treatment of the whole subject of litera- 
ture and history for the elementary school. 

Ivanhoe (Scott). Ginn & Co.; D. C. Heath & Co.; Hough- 
ton, Mifflin, & Co. ; American Book Co. ; The Macmil- 
lan Co. 

The Deerslayer (Cooper). The Macmillan Co. 

House of Seven Gables (Hawthorne). Houghton, Mifflin, & Co. 

Drake and his Yeomen (Barnes). The Macmillan Co. 

Hard Times (Charles Dickens). 

Mechanical methods in education described. 
Wake Robin (Burroughs). Houghton, Mifflin, & Co. 

A book of pleasing nature observation and study. 
Pioneers of France in the New World, and La Salle and the 
Discovery of the Great West (Parkman). Little, Brown, 
&Co. 

Excellent and interesting historical material for the teacher. 
The Men Who Made the Nation (Sparks). The Macmillan Co. 

Interesting biographical material. 
The Age of Chivalry (Bulfinch). Lee & Shepard. 

An important treatise on this subject. Library book. 
The Foot-path Way (Torrey) . Houghton, Mifflin, & Co. 

Attractive and inspiring nature study. 
Birddom (Keyser). Lothrop & Co. 

Excellent style and treatment of bird life. 
News from the Birds (Keyser). D. Appleton & Co. 

Very pleasing studies and stimulating to teachers, 
Greek Life and Story (Church). G. P. Putnam's Sons. 

A good series of pictures from the chief episodes of Greek 
history. 

Counsel upon the Reading of Books (Van Dyke). Houghton, 

Mifflin, & Co. Excellent. 
The Odyssey (Butcher and Lang). The Macmillan Co. 



228 SPECIAL METHOD OF CLASSICS 

SIXTH GRADE 
I. BOOKS FOR REGULAR READING LESSONS 

The Sketch-Book (In'ing). Ginn & Co. ; American Book Co. : 
Maynard, Merrill. & Co. ; Macmillan Co. ; Houghton, Mif- 
flin, & Co. ; Educational Pub. Co. ; University Pub. Co. 
Rip V an Winkle and other American essays. One of the best 
books for sixth grade. Used also in fifth and seventh grades. 

The Courtship of Miles Standish (Longfellow). Houghton, 
Mifflin, & Co. 

Excellent in many ways for sixth-grade children. A dramatized 
edition is also published. Used sometimes in seventh grade. 
The Christmas Carol (Dickens). Houghton. Mifflin, & Co.; 
Maynard, Merrill, & Co. ; Educational Publishing Co. 
Excellent as literature and for variety of style in class work. 
Used also in seventh grade. 
Hunting of the Deer (Warner). Houghton, Mifflin, & Co. 

Including also How I Killed a Bear, and other admirable 
stories, in which the humor and sentiment are fine. Used 
also in seventh grade. 
Snow-Bound and Songs of Labor (Whittier). Houghton, Mif- 
flin. & Co. 

One of the best American poems for children. Used also 
in seventh and eighth grades. 
Coming of Arthur and Passing of Arthur. Houghton, Mifflin, 
& Co. ; Maynard, Merrill, & Co. ; The Macmillan Co. 
In the fine, poetic style of Tennyson, but simple. Suited 
also for seventh grade. 
The Gentle Boy and Other Tales (Hawthorne). Houghton, 
Mifflin, & Co. 

A pathetic story of the Quaker persecutions in New England. 
Tales of the White Hills and Sketches (Hawthorne). Hough- 
ton, Mifflin, & Co. 

The Great Stone Face in this series is one of the choicest 
stories for children in English. 



LIST OF BOOKS 



229 



Plutarch's Alexander the Great. Houghton, Mifflin, & Co. 

A good biography for children and serves well as an intro- 
duction to Plutarch. 
Grandfather's Chair (Hawthorne). Houghton, Mifflin, & Co. 
The best stories we have of early and colonial New England 
history. Good also for seventh grade. 
Children's Hour, Paul Revere, and other papers (Longfellow). 
Houghton, Mifflin, & Co. 
This contains also the Birds of Killingworth, and other 
of Longfellow's best short poems. 
Birds and Bees, Sharp Eyes, and other papers (Burroughs). 
Houghton, Mifflin, & Co. Also for seventh grade. 
These are among the best of Burroughs's books for children. 
Classic in style and choice in matter. 
Hawthorne's Biographical Stories. Houghton, Mifflin, & Co. 
Seven American Classics (Swinton). American Book Co. 

A good collection of American classics suited to this grade. 
Three Outdoor Papers (Higginson). Houghton, Mifflin, & Co. 

Interesting studies of nature in choice style. 
Giles Corey (Longfellow). Houghton, Mifflin, & Co. 

A drama of the Salem witchcraft, with directions for its 
representation on the stage. 
I'iie Building of the Ship, The Masque of Pandora, and other 
poems (Longfellow). Houghton, Mifflin, & Co. 
Excellent. The Masque of Pandora could be rendered in 
dramatic form by children. Also for seventh grade. 
Mabel Martin and other poems (Whittier) . Houghton, Mifflin, 
&Co. 

A choice collection of poems from Whittier. A good picture 
of New England life. Used also in seventh and eighth 
grades. 

Baby Bell, The Little Violinist, and other prose and verse 
(Aldrich). Houghton, Mifflin, & Co. 
Very choice poems and stories. 
Open Sesame, Vol. II, and Vol. III. Ginn & Co. 

Poems and ballads. A collection well arranged for various 
school use, for reading, recitation, and memorizing. 



230 



SPECIAL METHOD OF CLASSICS 



2. SUPPLEMENTARY AND REFERENCE BOOKS 

Ten Great Events in History (Johonnot). D. Appleton & Co. 

Good collateral reading in this grade. 
Lanier's Froissart. Scribner's Sons. 

A fine story for library ($2.00). 
Child's History of England (Dickens). Hurst & Co.; Hough- 
ton, Mifflin, & Co. ; American Book Co. 
A book much used. Should be in a school library. 
Tales from Shakespeare (Lamb). American Book Co.; Mac- 
millan Co. ; Educational Publishing Co. ; D. C. Heath 
& Co. ; Houghton, Mifflin, & Co. 
Designed as an introduction to the plays of Shakespeare. 
Language and style superior. Used also in seventh grade. 
Pilgrim's Progress (Bunyan). Macmillan Co.; Ginn & Co.; 
Houghton, Mifflin, & Co. ; University Publishing Co. 
The famous old story which all children should read. A 
book for the library and the home. 
Story of Caesar (Clarke). American Book Co. 
Heroes and Patriots of the Revolution (Hart). The Macmillan Co. 
Swiss Family Robinson. Ginn & Co. ; Educational Publishing Co. 

A library book for children. University Publishing Co. 
Stories from Old English Poetry (Richardson). Houghton, 
Mifflin, & Co. 
An excellent series of stories from Chaucer and others. 
Historical Tales, English (Morris). J. B. Lippincott. 

A good collection of English history stories. 
Selections from Irving. Sibley & Ducker. 

A variety of interesting selections from Irving's works. 
The Conquest of Mexico (Prescott) . Maynard, Merrill, & Co. 

The story of Cortes and his adventures told by a master. 
William Tell (McMurry). Silver, Burdett, & Co. 

The drama of Schiller's Wilhelm Tell, translated into simple 
English. Adapted for representation. 
Source Book of American History (Hart) . Macmillan Co. 

The parts bearing on the colonial history. Original sources, 
letters, etc. 



LIST OF BOOKS 



231 



Story of a Bad Boy (Aldrich). Houghton, Mifflin, & Co. 

A good narrative of boy life, humorous and entertaining. 
Lay of the Last Minstrel (Scott) . The Macmillan Co. ; Maynard, 
Merrill, & Co. ; Ginn & Co. ; Houghton, Mifflin, & Co. 
One of the best descriptions of the old minstrelsy. Suitable 
for sixth and seventh grades. 
Choice English Lyrics (Baldwin). Silver, Burdett, & Co. 

A great variety of choice poems, ballads, lyrics, and 
sonnets. 

Poetry of the Seasons (Lovejoy). Silver, Burdett, & Co. 

A choice collection of nature poems. 
Wilderness Ways (Long). Ginn & Co. 

An interesting study of wild animals, birds, etc. 
Famous Allegories (Baldwin). Silver, Burdett, & Co. 

A good selection for reference reading and for teachers. 
Rab and His Friends (Brown). Educational Publishing Co.; 
D. C. Heath & Co. ; Houghton, Mifflin, & Co. 

Interesting stories of dogs for children. 
Story of Oliver Twist (Dickens). D. Appleton & Co. 

Suitable for introducing children to Dickens. 
Undine (Fouque). Ginn & Co. 
Nine Worlds (Litchfield). Ginn & Co. 

Hans Brinker, or the Silver Skates (Mary Mapes Dodge). Cen- 
tury Co. 

Don Quixote (De la Mancha). Scribners Sons ; Ginn & Co. 
Tales of a Traveller (Irving). American Book Co.; Maynard, 
Merrill, & Co. 
Various interesting stories of adventure. 
Pilgrims and Puritans (Moore) . Ginn & Co. 

One of the best books on the early history of Plymouth and 
Boston. Very simple and well told. 
Stories from Waverley (Gassiot) . The Macmillan Co. 

For reference reading. Stories from Scott. 
Golden Treasury of Songs and Lyrics (Palgrave). The Mac- 
millan Co. 

A collection of the best songs and lyrical poems. 
The Rose and the Ring (Thackeray). D. C. Heath & Co. 



232 



SPECIAL METHOD OF CLASSICS 



Knickerbocker Stories. University Publishing Co. 
Boys of '76 (Coffin). Harper Brothers. 

A realistic account of Revolutionary scenes. 
Stories of Bird Life (Pearson). B. F. Johnson Publishing Co. 

Simple descriptions by a close observer of birds. 
Our Country in Prose and Verse. American Book Co. 

Excellent collection for children's use. 
Stories of Animal Life (Holden) . American Book Co. 
Stories from English History (Church). The Macmillan Co. 

In two volumes. The second part is especially suited to 
sixth grade. Parts also of Part One. 
Children's Stories of American Literature (Wright). 1660-1860. 
Scribner s Sons. 

Short biographies of the chief American writers. 
Golden Arrow (Hall). Houghton, I^Iifflin, & Co. 



3. TEACHERS' BOOKS 

Peter the Great (Motley). Maynard, Merrill, & Co. 

A very interesting essay for teachers and for older pupils. 
Frederick the Great (Macaulay). Maynard, Merrill, &Co. 

For teachers only. Interesting in style and content. 
Life Histories of American Insects (Weed). The Macmillan Co. 

An interesting scientific treatment. 
Vicar of Wakefield (Goldsmith). Ginn & Co.; American 
Book Co. : D. C. Heath & Co. ; Houghton, Mifflin, & Co. : 
The Macmillan Co. ; The University Publishing Co. 
The Talisman (Scott). American Book Co. ; Ginn & Co. 
Introduction to Literature (Lewis). The Macmillan Co. 

Good selections. ■ 
Source Book of English History (Kendall). The Macmillan Co. 

Good selections for sixth, seventh, and eighth grades. 
Twice Told Tales (Hawthorne). Houghton. Mifflin, & Co. 
0]d Virginia and Her Neighbors, two volumes (Fiske). Hough- 
ton, Mifflin, & Co. 



LIST OF BOOKS 



The Dutch and Quaker Colonies in America, two volumes 
(Fiske). Houghton, Mifflin, & Co. 
These four volumes are excellent for the treatment of colo- 
nial history. 
An Introduction to Ruskin. Sibley & Ducker. 

Extracts from Ruskin's principal writings. 
Essay on Milton (Macaulay). Maynard, Merrill, & Co. ; Ameri- 
can Book Co. ; The Macmillan Co. 
A good example of Macaulay's style. 
History of England (Macaulay). Maynard, Merrill, & Co. 

A brief history of England from the earliest times to 1660. 
The Iliad (Bryant). Houghton, Mifflin, & Co. 
Books and Libraries (Lowell) . Houghton, Mifflin, & Co. 

A valuable and interesting essay on libraries and books. 
Also other essays. 
The Red Cross Story Book (Lang). Longmans & Co. 
Montcalm and Wolfe (Parkman). Little, Brown, & Co. 
Washington Irving (Warner). Houghton, Mifflin, & Co. 

Of the American Men of Letters Series. 
Conspiracy of Pontiac (Parkman). Little, Brown, & Co. 
The Fortune of the Repubhc (Emerson). Houghton, Mifflin, 
& Co. 

Nature Pictures by American Poets (Marble) . The Macmillan Co. 

A choice collection of nature poems. 
Poetic Interpretation of Nature (Shairp). Houghton, Mifflin, & Co. 

An interesting treatise on the sources of poetry in nature. 
Westward Ho! (Kingsley). The Macmillan Co. ; The University 
Pubhshing Co. 

A story of the time of Elizabeth. 
The Schoolmaster in Literature. American Book Co. 

Also its companion book. The Schoolmaster in Comedy and 
Satire. American Book Co. 
Scarlet Letter (Hawthorne). 

Last of the Mohicans (Cooper). D. C. Heath & Co.; Hough- 
ton, Mifflin, & Co. ; Macmillan Co. ; University Pub. Co. 
Henry Esmond (Thackeray). Houghton, Mifflin; Macmillan. 
Nicholas Nickleby (Charles Dickens). 



234 SPECIAL METHOD OF CLASSICS 

SEVENTH GRADE 

I. BOOKS FOR REGULAR READING LESSONS 

Evangeline (Longfellow). Houghton. ]\Iittlin. & Co. : The Mac- 
millan Co. ; The University Publishing Co. 
This has been much used in seventh and eighth grades. 
Sella, Thanatopsis, and Other Poems (Bryant). Houghton, 
Mifflin, & Co. : Maynard. .Merrill. & Co. 
Some of Bryant's best poetic productions. Or eighth grade. 
Sohrab and Rustum (.Arnold). American Book Co.: Hough- 
ton, I\Iifflin, & Co. : Maynard & Merrill : Werner School 
Book Co. : Educational Publishing Co. 
Style simple but highly poetic. L'sed also in eighth grade. 
Cricket on the Hearth (Dickens). Houghton, Mifflin. & Co.; 

IMaynard. Merrill, & Co. 
Enoch Arden and the Lotus Eaters (Tennyson). Maynard. 
Merrill, & Co. : Houghton. :\Iifflin, & Co. : The Macmil- 
lan Co. ; University Pubhshing Co. 
L'sed in seventh and eighth grades and high schools. 
Merchant of Venice (Shakespeare). American Book Co. : Ginn 
& Co. : The ]\Iacmillan Co. : D. C. Heath & Co. : Hough- 
ton, Mifflin. & Co. : Maynard & Merrill : Educational Pub- 
lishing Co. ; L'niversity Publishing Co. 
The best of Shakespeare's for this grade. Parts of it are 
often dramatized and presented. I\Iuch liked by the 
children. 

Tales of a Grandfather (Scott) . Ginn & Co. : Educational Pub- 
lishing Co. : L'niversity Publishing Co. 
Stories of Wallace. Bruce. Douglas, and other Scotch heroes. 
Should be read only in parts in class. Library book. _ 
Poems of Emerson. Houghton. ]\Iifflin. 6c Co. 

Historical and nature poems, with a good introduction. 
A small but important collection of poems for older 
children. 



LIST OF BOOKS 



235 



The Cotter's Saturday Night (Burns). Houghton, Mifflin, 
& Co. ; Maynard, Merrill, & Co. 
Contains also Tarn O'Shanter and other poems of Burns's best. 
Bunker Hill, Adams, and Jefferson (Webster). Houghton, Mif- 
flin, & Co. ; American Book Co. ; Maynard, Merrill, & Co. 
Historical, patriotic, and simple in style. The best of Web- 
ster's speeches for seventh and eighth grades. 
Poor Richards Almanac (FrankHn). Houghton, Mifflin, & Co. 
This contains also interesting papers and letters by Franklin. 
The proverbs of Franklin are well deserving the study of 
children. 

Scudder's Life of Washington. Houghton, Mifflin, & Co. 

Best life of Washington for grammar grades. 
Source Book of American History (Hart). The Macmillan Co. 

Excellent reading selections for sixth, seventh, and eighth 
grades. 

Grandmother's Story and Other Poems (Holmes). Houghton, 
Mifflin, & Co. 
Some of Holmes's best patriotic and humorous poems. 
The Plant World (Vincent). D. Appleton & Co. 

A superior collection of extracts from great scientific writers. 
One of the best science readers for upper grades. 
Poetry of the Seasons (Lovejoy). Silver, Burdett, & Co. 

Good collection for reading and various uses. 
WiUiam Tell (.AIcMurry). Silver, Burdett, & Co. 

Suitable for seventh-grade reading. A drama. 
Golden Treasury of Best Songs and Lyrical Poems (Palgrave). 
The Macmillan Co. 

2. SUPPLEMENTARY AND REFERENCE BOOKS 

Rules of Conduct (Washington). Houghton, Mifflin, & Co. 
Containing also his letters, farewell address, and other 
important papers. 
Shakespeare's Tragedies (Lamb) . American Book Co. ; The 
Macmillan Co. 
Companion book to the Comedies. 



236 



SPECIAL METHOD OF CLASSICS 



Natural History of Selborne (White). Ginn & Co. 

A famous old' book, interesting both in style and content. 
One of the first books of real nature study. 
Letters (Chesterfield). Ginn & Co. ; Maynard, Merrill, & Co, 
The Macmillan Co. 
Entertaining and unique. Valuable for reading extracts to 
the school. 

Plutarch^s Lives. Ginn & Co. ; The Macmillan Co. ; Educa- 
tional Publishing Co. 
A book that all grammar school children should be encour- 
aged to read. 

The Two Great Retreats (Grote-Segur) . Ginn & Co. 

Retreat of the ten thousand Greeks, and Napoleon's 
retreat from Russia. 
The Alhambra (Irving). Ginn & Co. ; Maynard, Merrill, & Co. 
The Macmillan Co. 
Most attractive descriptions and legends connected with 
the Alhambra. 
Peter Schlemihl (Chamisso). Ginn & Co. 
Picciola (Saintine). Ginn & Co. 
Hatim Tai (from the Persian) . Ginn & Co. 
Life of Nelson (Southey). Ginn & Co. ; American Book Co. ; 

The Macmillan Co. 
Camps and Firesides of the Revolution (Hart). The Macmil- 
lan Co. 
Interesting source material. 
The Crofton Boys (Martineau). D. C. Heath & Co. 
Orations on Washington and Landing of the Pilgrims (Webster) . 
American Book Co. 
A few children may be encouraged to read these great 
speeches, among the best in our history. Somewhat 
difficult. 

Silas Marner (EHot) . The Macmillan Co. ; Sibley & Ducker ; 
American Book Co. ; Ginn & Co. ; D. C. Heath & Co. ; 
Houghton, Mifflin, & Co. ; Educational Publishing Co. 
A good introduction for children to George Eliot's writings. 
Used in eighth grade and high school 



LIST OF BOOKS 



Vicar of Wakefield (Goldsmith). Ginn & Co.; American Book 
Co. ; D. C. Heath & Co. ; Houghton, Mifflin, & Co. ; The 
Macmillan Co. ; Maynard, Merrill, & Co. ; Univ. Pub. Co. 
One of the great books, permeated with Goldsmith^s fine 
style and humor. 
Two Years Before the Mast (Dana). Houghton, Mifflin, & Co. 

A book of real power for boys and girls. 
A Bunch of Herbs (Burroughs) . Houghton, Mifflin, & Co. 

Good nature study for pupils and teachers. Also for regular 
reading. 

Samuel Adams (Morse) . Houghton, Mifflin, & Co. 

One of the best of American biographies. One of the best 
descriptions of scenes in Boston just preceding the Revo- 
lution. 

Tom Brown's School Days (Hughes). The Macmillan Co.; 
Houghton, Mifflin, & Co. ; Ginn & Co. ; Educational Pub- 
lishing Co. 

A story for boys. Vigorous and true to life. 
Last of the Mohicans (Cooper) . The Macmillan Co. ; Maynard, 
Merrill, & Co. ; D. C. Heath & Co. ; Houghton, Mifflin, 
& Co. ; University Publishing Co. 
A good book with which to introduce young people to 
Cooper's famous stories. 
Franklin's Autobiography. Ginn & Co. ; Houghton, Mifflin, 
& Co. ; Maynard, Merrill, & Co. ; American Book Co. ; 
The Macmillan Co. ; The Educational Publishing Co, 
A book that all young people should read. Valuable in 
many ways. 

Uncle Tom's Cabin (Stowe). Houghton, Mifflin, & Co. 

A library book for home reading. 
From Colony to Commonwealth (Moore). Ginn & Co. 

Simple account of the early events of the Revolution about 
Boston. 

Stories from the Classic Literature of Many Nations (Palmer). 
The Macmillan Co. 

The Gold Bug and Other Tales (Poe). Houghton, Mif- 
flin, & Co. 



238 



SPECIAL METHOD OF CLASSICS 



American War Ballads and Lyrics (Eggleston). G. P. Put- 
nam's Sons. 

The Siege of Leyden (Motley). D. C. Heath & Co. 
Twelve Naval Captains. Scribner's Sons. 

Short biographies of naval heroes. 
Open Sesame, Volume III. Ginn & Co. 

A collection for various uses, prose and verse. Patriotism, 
sentiment, humor, and nature. 
Birddom (Keyser). D. Lothrop & Co. 

Good for regular reading. Written in the fine style of a 
true lover of nature. 
Town Geology (Kingsley). The Macmillan Co. 

An interesting book for those predisposed to science. 
Children's Stories of American Literature (i 860-1 896) (Wright). 
Scribners Sons. 

Short biographies of recent American writers. 
Prince and Pauper (Clemens). Harper & Bros. 

3. TEACHERS' BOOKS 

Education and the Larger Life (Henderson). Houghton, Mif- 
flin, & Co. 

A book of great value to teachers for thoughtful study. 
Critical Period of American History (Fiske). Houghton, Mif- 
flin, & Co. 

A very superior and interesting book of the period just after 
the Revolution. 

The Beginnings of New England (Fiske). Houghton, Mifflin, 
& Co. 

Valuable for sixth and seventh grade teachers. 
Birds in the Bush (Torrey) . Houghton, Mifflin, & Co. 

Entertaining nature study by a master. 
Nestlings in Forest and Marsh (Wheelock). A. C. Mc- 
Clurg. 

A suggestive book for teachers and older pupils. 
Madam How and Lady Why (Kingsley). The Macmillan Co. 
Interesting style and content. 



LIST OF BOOKS 



Brave Little Holland (Griffis). Houghton, Mifflin, & Co. 

A historical study of the Dutch in Holland and in this 
count r}\ 

Familiar Flowers of Field and Garden (Matthews). D. Apple- 
ton & Co. 

An easy study of common plants and flowers according to 
the seasons. 
Guy Mannering (Scott). Ginn & Co. 

Autocrat of the Breakfast Table (Holmes). Houghton, Mif- 
flin, & Co. 

Tale of Two Cities (Dickens). Ginn & Co. ; American Book Co. 
Life of Pestalozzi (de Guimps). D. Appleton & Co. 
First Bunker Hill Oration (Webster). D. C. Heath & Co. 
Mill on the Floss (George Eliot). 
Hugh Wynne, Free Quaker (Mitchell). Century Co. 
The Fortune of the Republic (Emerson). Houghton, Mifflin, 
& Co. 

Very stimulating to teachers. 
Masterpieces of American Literature (Scudder). Houghton, 
Mifflin, & Co. 
One of the best collections of classical masterpieces. 
Life of Samuel Johnson (Macaulay). Maynard, Merrill, & Co. ; 
Houghton, Mifflin, & Co. 
Very fine, in Macaulay's superior style. 
Modern Painters (Ruskin). Various publishers. 

For teachers, a good study in Ruskin. 
Essay on Burns (Carlyle). Maynard, Merrill, & Co. ; The Mac- 
millan Co. ; Houghton, Mifflin, & Co. ; D. C. Heath 
& Co. ; Educational PubUshing Co. 
An interesting subject and an able treatment. 
Readings from the Spectator. Educational Publishing Co. ; 
Maynard, Merrill, & Co. 
Roger de Coverley and other selected parts of essays from 
Addison. 

Six Centuries of English Poetry (Baldwin). Silver, Burdett, 
& Co. 

Valuable for reference and occasional study. 



240 SPECIAL METHOD OF CLASSICS 

Fiske's Washington and His Country (Irving). Ginn & Co. 

Good life of Washington and history of the Revolution. 
The War of Independence (Fiske). Houghton, Mifflin, & Co. 
Poetic Interpretation of Nature (Shairp) . Houghton, Mifflin, & Co. 
Mere Literature (Woodrow Wilson). Houghton, Mifflin, & Co. 

An interesting series of essays for teachers. 
The Life of Alexander Hamilton (Lodge) . Houghton, Mifflin, 
& Co. 

The Study and Teaching of English (Chubb). The Macmil- 
lan Co. 

Burke's Speech on Conciliation with America. D. C. Heath 
& Co. ; American Book Co. ; The Macmillan Co. 



EIGHTH GRADE 
I. BOOKS FOR REGULAR READING LESSONS 

Vision of Sir Launfal (Lowell). Houghton, Mifflin, & Co. ; The 
Macmillan Co. 
One of the best poems in English for school use. 

Julius Caesar (Shakespeare). American Book Co.; The Mac- 
millan Co. ; Silver, Burdett, & Co. ; D. C. Heath & Co. ; 
Houghton, Mifflin, & Co. ; Maynard, Merrill, & Co. ; The 
Educational Publishing Co. ; University Publishing Co. 
Well suited for eighth grade study and presentation. Used 
also in high schools. 

Tales of a Wayside Inn (Longfellow). Houghton, Mifflin, & Co. 

Bunker Hill, Adams, and Jefferson (Webster). Houghton, Mif- 
flin, & Co. 

Roger de Coverley (Addison) . The Macmillan Co. ; American 
Book Co. ; Houghton, Mifflin, & Co. ; The Educational 
Publishing Co. ; Silver, Burdett, & Co. ; Sibley & Ducker ; 
D. C. Heath & Co. ; Maynard, Merrill, & Co. 
An excellent study for children in eighth grade. Also used 
in high schools. 



LIST OF BOOKS 



241 



In Bird Land (Keyser). A. C. McClurg & Co. 

A book adapted to awaken the children to a sympathetic 
observation of birds. 
Lady of the Lake (Scott). Maynard, Merrill, & Co. ; American 
Book Co. ; Ginn & Co. ; Houghton, Mifflin, & Co. ; The 
Macmillan Co. ; D. C. Heath & Co. ; The Educational 
Publishing Co. ; University Publishing Co. 
An attractive study. Somewhat difficult. 
Marmion (Scott). Ginn & Co.; Maynard, Merrill, & Co.; 
The Macmillan Co. ; The Educational Publishing Co. ; 
Houghton, Mifflin, & Co. ; American Book Co. 
A great historical picture, full of interest. 
The Great Debate (Hayne-Webster) . Houghton, Mifflin, 
& Co. ; Maynard, Merrill, & Co. 
A fine study of forensic debate. Incidentally a deeper 
appreciation of history. Somewhat difficult for eighth 
grade. 

A Bunch of Herbs (Burroughs). Houghton, Mifflin, & Co. 

A very suggestive study of common plants, trees, weather, 
etc. 

Burke on Conciliation. Sibley & Ducker; Ginn & Co. ; The 
Macmillan Co. ; Silver, Burdett, & Co. ; Houghton, Mif- 
flin, & Co.; American Book Co.; D. C. Heath & Co.; 
Maynard, Merrill, & Co. Used also in high school. 
A great study both as literature and as history. One of the 
best studies in American history before the Revolution. 
The Gettysburg Speech (Lincoln). Houghton, Mifflin, & Co. 
The inaugurals, an essay by Lowell on Lincoln and other 
papers. 

The Deserted Village, and The Traveller (Goldsmith). The 
Macmillan Co. ; Houghton, Mifflin, & Co. ; Maynard, 
Merrill, & Co. 
The best of Goldsmith's poems. Also shorter poems. 
Franklin's Autobiography. The Macmillan Co. ; Ginn & Co. ; 
Houghton, Mifflin, & Co.; Maynard, Merrill, & Co.; 
American Book Co. ; The Educational Publishing Co. 
Partly for class use and partly for reference reading. 



242 



SPECIAL METHOD OF CLASSICS 



Plutarch's Lives. Ginn & Co. ; The Educational Publishing 

Co. ; The Macmillan Co. 
A few for class reading. Others for reference. 
Translation of Homers Odyssey (P^mer). Houghton. Miitlin, 

& Co. 

Abraham Lincoln (Schurz). Houghton. Mifflin, & Co. 
Two Great Retreats (Grote-Segur) . Ginn & Co. 

Good sight reading; and for reference. 
Peter the Great (.Motley). Maynard. Merrill, & Co. 

A very interesting essay in superior style. 
The Succession of Forest Trees, Wild Apples, and Sounds 
(Thoreau) . Houghton, Mifflin, & Co. 

A very attractive nature study. 

2. SUPPLEMENTARY AND REFERENCE BOOKS 

Ruskin's Selections. Ginn & Co. ; The Macmillan Co. 

Longer selections from Ruskin. Excellent also for regular 
reading. 

I\Iy Hunt after the Captain, etc. (Holmes). Houghton, Mifflin, 
& Co. 

A very entertaining description of scenes during war times. 
Don Quixote (Cer\'antes) . Ginn & Co. ; The Macmillan Co. ; 
Scribner's Sons. 
A book that children should be encouraged to read. Its 
satire and humor they should learn to appreciate. 
Ivanhoe (Scott). The Macmillan Co. : Ginn & Co. ; American 
Book Co. : Houghton. .Alifflin, & Co. : D. C. Heath & Co. 
The best introduction to Scott's novels, in connection with 
school studies. 
The Abbot (Scott). Ginn & Co. : American Book Co. 

One of Scotfs best stories. 
Yesterdays with Authors (James T. Fields). Houghton, Mifflin, 
&Co. 

Rob Roy, and Quentin Durward (Scott). Ginn & Co. ; Ameri- 
can Book Co. 
Good library books. 



LIST OF BOOKS 



The House of Seven Gables (Hawthorne). Houghton, Mifflin, 
& Co. 

A New England story in Hawthorne's style. A good home 

study for children and teachers. 
The Boy's Browning. Dana, Estes, & Co. 

A good collection of the simpler poems adapted to younger 

readers. 

Tale of Two Cities (Dickens). Ginn & Co. ; American 
Book Co. 

Jean Valjean (from Les Miserables). Ginn & Co. ; Educational 
PubHshing Co. 

The Talisman (Scott). American Book Co. ; Ginn & Co. 
Treasure Island (Stevenson). Scribner's Sons. 
Life of Washington (Statesmen Series). Houghton, Mifflin, 
& Co. 

Life of Nelson (Southey). The Macmillan Co.; Ginn & Co.; 

American Book Co. 
The Foot-path Way (Torrey) . Houghton, Mifflin, & Co. 

One of the best books for cultivating an appreciation for 

nature. 

In Bird Land (Keyser). A. C. McClurg & Co. 

A very interesting bird study. 
The Old Manse, and A Few Mosses (Hawthorne). Houghton, 
Mifflin, & Co. 

A pleasing account of the old house and its associations. 
News from the Birds (Keyser). D. Appleton & Co. 

Excellent study and observation. 
Peasant and Prince (Martineau). Ginn & Co. ; Univ. Pub. Co. 

An interesting narrative of French life just before the Revo- 
lution. 

A Book of Famous Verse (Repplier) . Houghton, Mifflin, & Co. 

A superior collection of poems. 
Nature Pictures by American Poets (Marble) . The Macmillan Co. 

Choice poems descriptive of nature. 
Seven British Classics. American Book Co. 

A good collection of English masterpieces. Adapted also . 
for regular reading in seventh and eighth grades. 



244 



SPECIAL METHOD OF CLASSICS 



Star Land (Ball). Ginn & Co. 

A ver\' interesting and well-written introduction to astronomy. 
Life of John Ouincy Adams (Morse). Houghton, Mifflin, & Co. 

The Statesmen Series. 
Poems of American Patriotism (Matthews). Scribner's Sons. 

3. TEACHERS* BOOKS 

Culture and Anarchy (Arnold). Maynard, Merrill, & Co. 

It illustrates well Arnold's thought and style. 
Elaine (Tennyson). Maynard, Merrill, & Co.; The Macmil- 
lan Co. 

A beautiful poem, simple and musical, from the Idylls of the 
King. 

Great Words of Great Americans (Putnam) . 

Papers and addresses of Washington and Lincoln. 
Literature in Schools (Scudder). Houghton, Mifflin, & Co. 

A stimulating book for teachers of all grades. 
The Princess (Tennyson). Ginn & Co.; The Macmillan Co.; 

Maynard, Merrill. & Co. ; American Book Co. 
Biblical Masterpieces (Moulton). The Macmillan Co. 
The Book Lover (Baldwin). A. C. McClurg & Co. 

A discussion of books and reading with lists of books and 
suggestions. 

The Story of the Birds (Baskett). D. Appleton & Co. 

One of the superior books of nature study. 
Frail Children of the Air (Scudder). Houghton, Mifflin, & Co. 

A scientific but simple treatise on butterflies. 
Books and Culture (Mabie). Dodd, Mead, & Co. 

An attractive and valuable book on Hterature for teachers. 
Science Sketches (Jordan). A. C. McClurg & Co. 

A very attractive style in the treatment of scientific topics. 
Birds through an Opera Glass (Merriam). Houghton, Mifflin, 
& Co. 

Good outdoor study. 
• Up and Down the Brooks (Bramford). Houghton, Mifflin, & Co. 

A study of insect life in the streams. 



LIST OF BOOKS 



Essays, first series (Emerson). Houghton, Mifflin, & Co. 

Essays on history, self-reliance, compensation, and others. 
Teachers should study Emerson's essays. 
Heroes and Hero-Worship (Carlyle). A. C. McClurg & Co.; 
The Macmillan Co. 
A great book and a good specimen of Carlyle's style and 
thought. 

Introductory Lessons in English (McNeil and Lynch). Ameri- 
can Book Co. 

A series of masterpieces with questions and discussions as 
to treatment in high schools. 
How to Teach Reading (Clark). Scott, Forsman, & Co. 

A pedagogical treatment of reading. 
Counsel upon the Reading of Books (Van Dyke). Houghton, 
Mifflin, & Co. 

Strong essays on books and reading from different points 
of view by strong writers. 
Romola (George Eliot). Various publishers. 

One of the great novels. Valuable in many ways. 
Macbeth (Shakespeare). Silver, Burdett, & Co.; D. C. Heath 
& Co. ; The Macmillan Co. ; American Book Co. ; The 
Educational Publishing Co. ; University Publishing Co. 
This and other great plays of Shakespeare should be read 
by teachers. 

Life of Hamilton (Statesmen Series). Houghton, Mifflin, & Co. 

Emerson's Self-Reliance. Maynard, Merrill, & Co. 

Life of Webster (Lodge), also John Quincy Adams (Morse). 

Houghton, Mifflin, & Co. 
From the Statesmen Series. Excellent reading for the 

teacher. 

Literary Study of the Bible (Moulton). D. C. Heath & Co. 
A valuable introduction to the literary appreciation of the 
Bible. 

The Marble Faun (Hawthorne). Houghton, Mifflin, & Co. 
Plutarch's Lives. Ginn & Co. ; The Macmillan Co. ; The Edu- 
cational Publishing Co. 
Locke's Thoughts on Education. The Macmillan Co. 



246 SPECIAL METHOD OF CLASSICS 

Spencer's Education. D. Appleton & Co. 
Daniel Deronda (George Eliot). 
Dombey and Son (Charles Dickens). 
The Autobiography of John Stuart Mill. 

The Schoolmaster in Comedy and Satire (Skinner). The Ameri- 
can Book Co. 

Emerson's American Scholar. American Book Co. ; Houghton, 

Mifflin, & Co.; Maynard, Merrill, & Co. 
The Judgment of Socrates. Houghton, Mifflin, & Co. 
Poets and Problems (Cooke). Houghton, Mifflin, & Co. 
Introduction to Tennyson, Ruskin, and Browning. 
A Century of Science and other Essays (Fiske). Houghton, 

Mifflin, & Co. 

American Writers of To-day (Vedder). Silver, Burdett, & Co. 
Ralph Waldo Emerson (Holmes). American Men of Letters 
Series. Houghton, Mifflin, & Co. 



ALPHABETICAL LIST OF TITLES 



Abbot, The 


242 


Ballad Book . . . 






218 


Abraham Lincoln .... 


242 ; BaUads and Lyrics . 






22s 


Adams, Bunker Hill, and Jef- 




Beginnings of New 


Eng- 




ferson 235, 


240 






222 


2^8 


Adams, Life of John Quincy 


244 


Beginnings of New 


Eng- 






237 


land, and Discovery 


of 




Adventures of Llysses . 


223 








226 




227 


Being a Boy . . . 






220 




221 


Biblical Masterpieces 






244 


Alexander the Great . 


229 








218 


Alhambra . • 


236 


Biographical Stories 


(Haw- 




Alice^s Adventures in Won- 








223 


, 229 




219 






227 


2^8 


American Explorers . . . 


226 


Birds and Bees, Sharp Eyes, 




American Scholar .... 


246 


and other papers 






22Q 


American War Ballads and 




Birds in the Bush . 






238 




238 


Birds through an 


Op 


era 




American Writers of To-day 


246 










Andersen's Fairy Tales . . 


217 


Bird-World . . . 






217 


Arabian Nights (Qarke) . . 


224 








219 


Arabian Nights (Hale) . . 


224 








244 


Arabian Nights, Stories from 




Book of Famous Verse 




243 


the 


216 


Book of Golden Deeds . 




225 


Autobiography (Franklin) 237, 241 


Book of Legends . 






217 


Autobiography of John Stuart 










217 


Mill 


246 


Books and Culture . 






244 


Autocrat of the Breakfast 




Books and Libraries 






233 


Table 


239 


Boy's King Arthur . 






243 
225 


Baby Bell, the Little Violinist, 










232 


and other prose and verse 


229 


Brave Little Holland 






239 



247 



248 



SPECIAL METHOD OF CLASSICS 



Brownies, The 

Browning, Boy's .... 

Browning, Introduction to 
Tennyson, Ruskin, and 

Building of the Ship . . . 

Bunch of Herbs . . . 237, 

Bunker Hill. Adams, and Jef- 
ferson 23; 

Burke on ConciUation . . . 

Burke's Speech on Concilia- 
tion with America . . 

Burns, Essay on 



219 
243 

246 
229 
241 

240 
241 

240 
239 



Csesar, Story of 230 

California and Oregon Trail 221 

Camps and Firesides of the 
Revolution 236 

Century of Science, and other 
essays 246 

Champlain, Samuel de . . 227 

Chestertield, Letters of . . 236 

Childhood in Literature and 
Art 226 

Child Life in Poetr)' and 
Prose ....... 216 

Children's Hour . . . 223, 229 

Children's Hour, Paul Revere, 
and other papers . . . 229 

Children's Life of Abraham 
Lincoln ....... 226 

Children's Stories of Ameri- 
can Literature .... 221 

Children's Stories of Ameri- 
can Literature, 1 660-1 S60 232 

Children's Stories of Ameri- 
can Literature, 1S60-1S96 23S 

Children's Treasury of Eng- 
lish Song 219 

Child's Historv of England . 230 



Choice English Lyrics . . . 231 

Christmas Carol 228 

Colonial Children .... 224 
Coming of Arthur and Pass- 
ing of Arthur 228 

Conquest of Mexico . . . 230 

Conspiracy of Pontiac . . . 233 

Cotter's Saturday Night . . 235 
Counsel upon the Reading 

of Books .... 227, 245 

Courtship of Miles Standish . 228 

Cricket on the Hearth . . 234 
Critical Period of American 

Histor}' 238 

Crofton Boys 236 

Culture and Anarchy . . . 244 

Daniel Deronda 246 

David Copperfield .... 221 

Deerslayer 227 

Deserted Village, and the 

Traveller 241 

Discovery of America . . . 221 
Discovery of America, Be- 
ginnings of New England, 

and 226 

Dog of Flanders .... 218 

Dombey and Son .... 246 

Don Quixote .... 231, 242 

Drake and his Yeomen . . 227 
Dutch and Quaker Colonies 

in America 233 

Education 246 

Education and the Larger 

Life 238 

Elaine 244 

Emerson, Poems of . . . 234 

Emerson, Ralph Waldo . . 246 



ALPHABETICAL 



LIST OF TITLES 



249 



Emerson's Essays .... 


220 




232 


Emerson's Essays, First Series 


245 


Golden Treasury of Best 




Enoch Arden and the Lotus 




Songs and Lyrical Poems 


235 




234 


Golden Treasury of Songs 






239 




231 


Essay on Milton .... 


233 


Grandfather's Chair . . . 


229 


Essays (Emerson) .... 


220 


Grandmother's Story, and 




Essays (Emerson), First Series 


245 




23s 


Eugene Field Book . . . 


220 


Great Debate (Hayne-Web- 






234 




241 






Great Words of Great Ameri- 




Faerie Queen, Tales from the 


218 




244 


Fairy Tales (iVndersen) . . 


217 


Greek Gods, Heroes, and 




Fairy Tales in Prose and Verse 


219 


Men 


225 


Familiar Flowers of Field and 






216 




239 


Greek Life and Story . . . 


227 


Famous Allegories .... 


231 


Grimm's Household Tales . 


217 




216 


Gulliver's Travels .... 


223 


Fifty Famous Stories Retold 


220 


GulHver's Voyage to LilUput 


223 


First Book of Birds . . . 


218 




239 


First Bunker Hill Oration . 


239 






Foot-path Way . . . 227, 


243 


Hamilton, Life of ... . 


245 


Fortune of the Republic 233, 


239 


Hamilton, Life of Alexander 


240 


Four American Naval Heroes 


226 


Hans Andersen Stories . . 


218 


Four Great Americans . . 


217 


Hans Andersen Tales . . . 


217 


Frail Children of the Air . . 


244 


Hans Brinker, or the Silver 




Franklin's Autobiography 237, 241 




231 


Frederick the Great . . . 


232 




227 


Friends and Helpers . . . 


218 




236 




230 




233 


From Colony to Common- 




Heroes and Hero Worship . 


245 




237 


Heroes and Patriots of the 










230 


Gentle Boy, and other tales . 


228 


Heroes of Asgard .... 


219 


Gettysburg Speech .... 


241 


Heroes of the Middle West 220, 224 




229 




223 


Gods and Heroes .... 


218 




222 


Gold Bug, and other tales . 


237 


Historical Tales, American . 


225 




226 


Historical Tales, English 226, 230 



SPECIAL METHOD OF CLASSICS 



250 

History and Literature 220, 227 
History of England . . . 233 
Hoosier School Boy . . . 226 
Household Tales (Grimm) . 217 
House of Seven Gables . 227, 243 
How to Teach Reading . . 245 
Hugh Wynne, Free Quaker . 239 
Hunting of the Deer . . . 228 

Iliad (Bryant) . . . 224, 233 

Iliad (Pope) 224 

In Bird Land . . 221, 241, 243 
Introduction to Literature . 232 
Introduction to Ruskin . . 233 
Introduction to Tennyson, 

Ruskin, and Browning . 246 
Introductory Lessons in Eng- 
lish 245 

Irving, Selections from . . 230 
Ivanhoe 227, 242 

Jackanapes 219 

Jason's Quest 225 

Jean Mitchell's School . . 222 

Jean Valjean 243 

Jefferson, Bunker Hill, Adams 

and 235, 240 

Johnson, Life of Samuel . . 239 

Judgment of Socrates . . . 246 

Julius Caesar 240 

King Arthur and his Court . 217 
King of the Golden River . 222 
Krag and Johnny Bear . . 224 

Lady of the Lake .... 241 
Landing of the Pilgrims, Ora- 
tions on Washington and . 236 
La Salle and the Discovery 
of the Great West . . . 221 



Last of the Mohicans . 233, 237 
Lay of the Last Minstrel , . 231 
Lays of Ancient Rome . . 222 
Leonard and Gertrude . . 222 
Letters (Chesterfield) . . . 236 
Life Histories of American 



Insects 232 

Life of Alexander Hamilton 240 

Life of Hamilton .... 245 

Life of John Quincy Adams 244 
Life of Nelson .... 236, 243 

Life of Pestalozzi .... 239 

Life of Samuel Johnson . . 239 

Life of Washington . 235, 243 

Life of W^ebster 245 

Lincoln, Abraham .... 242 
Lincoln, Children's Life of 

Abraham 226 

Literary Study of the Bible 245 

Literature in Schools . .221, 244 
Little Daffydowndilly and 

Biographical Stories . . 223 

Little Lame Prince . , . . 218 

Little Lord Fauntleroy . . 220 

Little Violinist 229 

Lobo, Rag, and Vixen . . 226 
Lotus Eaters, Enoch Arden 

and the 234 

Mabel Martin, and other 

poems 229 

Macbeth 245 

Madam How and Lady Wliy 238 

Marble Faun 245 

Marmion 241 

Masterpieces of American 

Literature 239 

Men who made the Nation . 227 

Merchant of Venice . . . 234 



ALPHABETICAL 



LIST OF TITLES 25 1 



Mere Literature .... 240 
Merry Adventures of Robin 

Hood 219, 223 

Mill on the Floss .... 239 

Milton, Essay on .... 233 

Modern Painters . . . . 239 

Montcalm and Wolfe . . . 233 

Moral Instruction of Children 226 

My Hunt after the Captain . 242 

Myths of the Northern Lands 220 

National Epics 221 

Natural History of Selborne 236 

Nature in Verse . . . . 217 
Nature Pictures by American 

Poets . . . .221, 233, 243 

Nelson, Life of . . . 236, 243 

Nestlings in Forest and Marsh 238 

News from the Birds . 227, 243 

Nicholas Nickleby .... 233 

Nine Worlds 231 

Norse Stories 220 

Niirnberg Stove 218 

Odyssey (Bryant) .... 224 
Odyssey (Butcher and Lang) 227 
Odyssey (Church) .... 225 
Odyssey of Homer (Palmer) 224 
Odyssey, Translation of Hom- 
er's (Palmer) 242 

Old Greek Folk Stories . . 217 

Old Greek Story .... 224 

Old Manse, and a Few Mosses 243 

Old Norse Stories .... 220 

Old Stories of the East . . 218 
Old Testament Stories in 

Scripture Language . . 217 
Old Virginia and her Neigh- 
bors 232 



Oliver Twist, Story of . . 231 

Open Sesame 219, 225, 229, 238 
Orations on Washington and 

Landing of the Pilgrims . 236 
Our Country in Prose and 

Verse 232 

Our Feathered Friends . . 219 

Paul Revere 229 

Peasant and Prince . . . 243 
Pestalozzi, Life of ... . 239 

Peter Schlemihl 236 

Peter the Great . . . 232, 242 

Picciola 236 

Pied Piper, and other poems 223 
Pilgrims and Puritans . . . 231 
Pilgrim's Progress .... 230 

Pilot 222 

Pioneer History Stories . . 225 
Pioneers of France in the 
New World, and La Salle 
and the Discovery of the 

Great West 227 

Pioneers of the Revolution . 220 

Plant World 235 

Plutarch's Lives . . 236, 242, 245 
Poems of American Patri- 
otism 224, 244 

Poems of Emerson .... 234 
Poetic Interpretation of 

Nature 233, 240 

Poetry for Children . , . 221 
Poetry of the Seasons , 231, 235 
Poets and Problems . . . 246 
Poor Richard's Almanac . . 235 
Prince and Pauper .... 238 
Princess ....... 244 

Quentin Durward .... 242 



252 



SPECIAL METHOD OF CLASSICS 



Rab and his Friends . . . 231 

Ralph Waldo Emerson . . 246 

Readings from the Spectator 239 

Readings in Folklore . 220, 226 

Red Cross Story Book . . 233 
Rob Roy, and Quentin Dur- 

ward 242 

Robinson Crusoe . . , « 224 

Roger de Coverley .... 240 

Romola 245 

Rose and the Ring . . . 231 
Round the Year in Myth and 

Song 217 

Rules of Conduct .... 235 

Ruskin, Introduction to . . 233 
Ruskin, Introduction to 

Tennyson, Browning, and 246 

Ruskin (Selections) . . . 242 

Samuel Adams 237 

Samuel de Champlain . . . 227 

Samuel Johnson, Life of . . 239 

Scarlet Letter , . . . . 233 
Schoolmaster in Comedy and 

Satire 246 

Schoolmaster in Literature . 233 

Science Sketches .... 244 

Secrets of the Woods . 220, 224 

Selections (Ruskin) . . . 242 

Selections from Irving . . 230 

Self-reliance 245 

Sella, Thanatopsis, and other 

poems 234 

Sesame and Lilies . . 221, 226 

Seven American Classics . . 229 

Seven British Classics . . . 243 

Shakespeare's Tragedies . . 235 
Sharp Eyes, Birds and Bees, 

and other papers .... 229 



Siege of Leyden 238 

Silas Marner 236 

Six Centuries of English 

Poetry 239 

Sketch Book 228 

Snow-Bound, and Songs of 

Labor 228 

Sohrab and Rustum . . . 234 
Some Merry Adventures of 

Robin Hood 223 

Songs of Labor, Snow-Bound 

and 228 

Sounds, Succession of Forest 

Trees, Wild Apples, and . 242 
Source Book of American 

History 230, 235 

Source Book of English His- 
tory 232 

Spectator, Readings from the 239 
Squirrels and Other Fur- 
bearers 217, 223 

Star Land 244 

Stories from English History 232 

Stories from Herodotus . . 225 
Stories from Old English 

Poetry 230 

Stories from Old German . 220 

Stories from Plato .... 220 
Stories from the Arabian 

Nights 216 

Stories from the Classic Lit- 
erature of Many Nations . 237 
Stories from Waverley . . 231 
Stories, Hans Andersen . . 218 
Stories of American Life and 

Adventure .... 219, 223 

Stories of Animal Life . . 232 

Stories of Bird Life . • . 232 

Stories of Our Country . . 217 



ALPHABETICAL LIST OF TITLES 



Stories of the Old World. . 219 

Story of a Bad Boy . . . . 231 

Story of Qesar 230 

Story of Oliver Twist . . . 231 

Story of Our Continent . . 226 

Story of Roland 226 

Story of Siegfried .... 225 

Story of the Birds .... 244 

Story of the English . . . 225 

Story of the Golden Age . . 224 

Story of the Greeks . . . 225 

Story of the Iliad .... 220 
Story of the Odyssey 

(Church) . . . . 221, 225 

Story of Troy 225 

Story of Ulysses 218 

Story-teller's Art .... 222 
Study and Teaching of Eng- 
lish 240 

Succession of Forest Trees, 

Wild Apples, and Sounds 242 

Swiss Family Robinson . , 230 

Tale of Two Cities . . 239, 243 
Tales from English History . 223 
Tales from Scottish His- 
tory 223 

Tales from Shakespeare . . 230 

Tales from the Faerie Queen 218 

Tales, Hans Andersen . . . 217 

Tales of a Grandfather . . 234 
Tales of a Traveler . . 221, 231 

Tales of a Wayside Inn . . 240 

Tales of Chivalry .... 225 
Tales of the ^^^lite Hills, and 

Sketches 228 

Tales of Troy 219 

Talisman 232, 243 

Talks to Teachers .... 221 



Tanglewood Tales .... 222 
Ten Boys on the Road from 

Long Ago 224 

Ten Great Events in History 230 
Tennyson, Introduction to, 

Ruskin, and Browning . 246 
Thanatopsis, Sella, and other 

poems 234 

Thoughts on Education . . 245 

Three Outdoor Papers . . 229 

Through the Looking Glass . 219 

Tom Brown's School Days . 237 
Tommy-Anne and the Three 

Hearts 218 

Town Geology ..... 238 
Translation of Homer's Odys- 
sey (Palmer) 242 

Traveller, Deserted Village 

and the 241 

Treasure Island 243 

Twelve Naval Captains . . 238 

Twice Told Tales .... 232 
Two Great Retreats . 236, 242 

Two Years before the Mast . 237 

Ulysses among the Phaeacians 223 

Ulysses, Story of .... 218 

Uncle Tom's Cabin . . . 237 

Undine 231 

Up and down the Brooks . 244 



Vicar of Wakefield . 
Vision of Sir Launfal 



232, 237 
. . 240 



Wake Robin 227 

War of Independence . . . 240 

Washington and his Country 240 
Washington, and Landing of 

the Pilgrims, Orations on 236 



254 



SPECIAL METHOD OF CLASSICS 



Washington Irving .... 233 
Washington, Life of . 235, 243 
Waste Not, Want Not . . 218 

Water Babies 222 

Waverley, Stories from . . 231 
Ways of Wood Folk . 221,223 
Webster, Life of .... 245 
Westward Ho ! . . . 226, 233 



Wild Apples, Succession of 

Forest Trees, and Sounds . 242 
Wilderness Ways . . 226, 231 
William Tell .... 230, 235 
Winning of the West . . . 222 
Wonder Book 216 

Yesterdays with Authors . . 242 



Tarr and McMurry's Geographies 



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Tarr and McMurry's Geographies 



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